Erkan Umut

Very useful post - Thanks!

I have several of the C16s and they are getting slow with age (and old grease)and can barely pull film through the gate. They definitely need to be disassembled and lubed.

I have made a PDF of the instruction manual if anyone needs it.

 

Steve

Thank you Steve!

I've downloaded that manual you made on A/City.

Fellows

 

Here is some knowledge of the Austrian 1956 product.

 

Opening angle in black plastic shutter: 160 degrees

Rigidly controlled pulldown claw from the front according to ISO 69, leaving film at +3 position

Lateral film guide by spring blade at optical axis height

 

Main shaft bearing claw cam and shutter as well as governor shaft in miniature ball bearings, these under spring blades

Main shaft steel worm, driving worm gear plastic; grease

 

Three-blade centrifugal governor, horizontally arranged, leather-covered braking disk against steel arm

 

 

If one is to clean and relube the mechanism one has to totally disassemble the camera. No bearing can be lubricated from outside. Brass gears, not ground

 

The 25mm 1.9 lens has a ten blade double iris diaphragm.

 

Hope this will help somewhere sometime.

Simon,

Great share!

Thank you so much.

Best

Hi Erkan,

 

That's on principle... Bu the Ange 12-240 is truly a heavy lens. I think I would use a lens support with it myself.

 

I have a couple of custom made models I picked up with ACL kits. If interested, send me an email at bobolex@gmail.com

 

Best to you in lovely Instanbul ;-)

B.

Thank you Boris!

I sent you an email.

Still waiting for your reply...

This webpage is moved to

日本からの映写機 motion picture projectors from japan

I've tried the Angenieux 12-240mm zoom with the CA-1 mount on my eclair ACL II.

As you know, its a heavy zoom.

The sales brochure says:

These are no mere adaptors. Lenses are rigidly and precisely held against the camera face. So you can use zooms, or other long or heavy lenses without any other lens supports.

The manual says (p. 17):

As you will notice the Eclair intermediate TS mount is exceptionally robust with a large locating diameter and thrust face. The use of lens supports with the mount is not necessary.

I will be happy, if I could get some advice:

* Whether the camera mount and CA-1 mount are OK with this weight. The strength issue, then the alignment and FFD issue.

*Whether this lens needs support regardless of the mount.

Thank you so much for sharing your invaluable experience with us.

After you read the ACL II literature carefully, you get this info:

Optics

The ACL II's patented universal lens mount system consists

of a threaded "C" mount receptacle (mechanical back focal

distance of 17.52mm) set flush into the camera body face,

surrounded by a collar of raised threads of larger diameter.

Camera mounts with a stainless steel collar can quickly be

locked into position on the raised threads. You can use any of

the well-known professional lenses with accessory camera

mounts that fit the raised threads. Including, of course, the

heavy-duty Eclair CA-1 bayonet lens mount, (mechanical

back focal distance of 48mm) which is supplied standard with

the camera.

These are no mere adaptors. Lenses are rigidly and precisely

held against the camera face. So you can use zooms, or

other long or heavy lenses without any other lens supports.

A slot for gelatine filters is set into the camera body between

the lens mount and the reflex mirror. So there is no need for

separate filters for each lens, and you can see the filter through

the viewfinder.

So, I understand from this statement, the support is only needed when the lenses are threaded on the C-mount.

Can you get a dovetail plate with 19mm rods? Can you fit the Arri one to the ACL? Then you could support the lens and get the balance. Or you could make a basic cheese-plate yourself out of 10mm aluminum plate and adapt the lens support.

 

I don't think supporting the lens from above with a plate bolted to the top handle mount is a good idea unless the camera is being suspended from above at the balance point. The top handle mount isn't stiff or strong enough to react loads (moments) from a big lens. The lens mount would take all the load.

 

I was just recently doing some drawings to design a baseplate for ACL II that would take 19mm rods, handles etc. With 19mm rods in the correct position I found that the base of the ACL camera itself would interupt the rod on the left hand side.

 

Cheers,

Gregg.

Hi Gregg,

Thank you so much.

I know that bulky ARRI stuff, I really don't want to deal with those dovetails. I want a simple thing well enough as a support for my heavy zoom.

I like the custom-build things...

What about to design one like used for NPR many years (bottom bracket)? One simple rod, one cheese-plate between the cam and the tripod and one hinged lens ring . NPR has a place for connecting the rod on the body, of course.

Cheers,

Erkan

I've tried the Ang 12-240mm zoom with CA-1 mount on eclair ACL.

As you know, its a heavy zoom.

Well, the CA-1 mount is robust and threaded well on the body. Despite this, I suspect I have to use a support.

Possibly, a lens bracket. By the way, I don't need a matte box system with rods and base plate, etc.

I could not find a bracket suitable for this application.

I think the only alternative seems to be supporting the lens from top, connected to the carrying handle screw serves as accessory holder.

Any advice?

Thank you in advance!

What is the filter thread size of the EE CdS window of Canon Scoopic 16M?

Many thanks!

Hi Erkan, have you find the owners manual? I am also looking for it. I googled it and saw they sell it in some web page...

Hi Mario,

Unfortunately not, my friend in Japan emailed me some in Japanese only. Are you interested in having that?

I also gave my camera to my friend as a present.

Best,

Erkan

I am currently looking for UHER 1200 REPORT SYNCHRO brochure in English.

If anybody has scans, I'll be more than happy!

Many thanks!

Hello all,

I will be visiting Tokyo briefly in about a week. I will have 5 days there. I want to purchase some Fuji 16mm stock while there, shoot it and have it processed. Does anyone here know where I might buy the stock and have it processed in Tokyo?

Many thanks,

richard

These labs have world-class services you can trust:

IMAGICA Corp.

(株)IMAGICA

2-14-1 Higashigotanda, Shinagawa-ku, Tokyo 141-0022

Tel: +81-3-3280-1338

Fax: +81-3-3280-1339

E-mail: sakaguchi.akira@imagica.jp

URL ： http://www.imagica.com/

TOKYO LABORATORY LTD.

(株)東京現像所

2-13 Fujimicho, Chofu-shi, Tokyo 182-8555

Tel: +81-42-485-9915

Fax: +81-42-481-6100

E-mail: togen@tokyolab.co.jp

URL ： http://www.tokyolab.co.jp

YOKOCINE D.I.A. INC.

(株)ヨコシネ ディー アイ エー

Sales Department

41-1 Udagawacho, Shibuya-ku, Tokyo 150-0042

Tel: +81-3-3464-4882

Fax: +81-3-3464-4080

E-mail: m-takahashi@yokocine.com

URL ： http://www.yokocine.com

If you need any further info, just ask...

Good Luck!

They can print what they specified it to be and what they tried to adjust the regulator for.

 

But if there is an unregulated speed then they can only print aproximate :)

 

It is more a linguistic problem rather then a speed problem.

Liked that reply very much! GREAT!

I had two R10's and that spec isn't exact. No doubt. But it's fairly close from the slow mo tests i performed.

 

GREAT camera.

So, Canon gives the fair specification of slo-mo fps rate for these cameras.

Probably the slow-motion function works by disengaging the speed regulator and applying full voltage to the motor. Then it is unregulated and it is only a best guess :) It would indeed be dependend on the condition of the batteries.

 

The Canon are known to be spot on with their standard fps. I.e. on a full length of a cartridge (3000-4000 frames) the would only be off by 1 frame. Very suitable for sound-syncing without spending thousands :) But you would need to test the accuracy.

Thank you Andries!

I just would like to know, why Canon gives this approx value for 36fps on all Canon literature.

For an example, I have a Nikon R10, and the 54fps exact value is given on all Nikon literature.

No super8 can give you exact frames per second. They just are not built with that kind of precision. If you spend some money, you can crystal sync the 1014 XL-S for 24 fps and get sync sound...

 

http://www.webtfg.com/sync8.htm

Thank you Matt!

Its not about X-tal sync or pulse sync, etc.

I just would like to know, why Canon gives this approx value for 36fps.

I've never seen approx values given of slo-mo fps rates for any other camera than these two models.

Why its an approximate value? Why not exact?

Because of battery drainage?

Thanks for any reply.

Chinese HE-PING 16mm camera brochure/instructions:

http://www.mediafire.com/?qen57j5us4wdk7z

Enjoy!

Greetings Erkan!

 

I found a 1 sheet on the Uher Report - L in my files. It is dated 1967. I posted the front page below in low rez. The back side has a written description, specs and accessories. It would be better I send it to you in a higher rez scan as the type is very small. Do you want it?

 

The Report-L was for radio stations and has no sync sound capabilities. I also found a couple of brochures for the Arrivox Tandberg if you would like them for your collection.

 

I hope you weren't effected by the earth quakes.

Regards,

Charlie

 

Hi Charlie,

Thank you so much for your reply as usual.

I just sent you an e-mail.

Best,

Erkan

I want to use UHER 1200 SYNCHRO REPORT with the its X-tal sync generator accessory. Does this accessory help also for resolving? Or I need anything else during sound transfer?

By the way, I need its Brochure and Owner's Manual in English.

Thank you so much for your help!

OK it's based on the Mitchell that started life without reflex viewing. The first shutter is adjustable on a Mitchell 0^170 degrees, PV's don't fully close because the widest is 220 degrees. Imagine 2 semi circles of black metal that can move relative to each other, so the open shutter can be any angle you like.

 

The viewing mirror shutter just covers one of the shutter blades, it's not a butterfly.

 

I have some drawings at home, however I am away for a week-

Thank you Steven!

I know Mitchell systems and variable shutters well.

Most of the latest PFX systems use butterfly type reflex mirror shutters for viewing only synced with the focal plane shutters for exposure, except XL and XL2, where there is an oscillating mirror and a focal plane shutter.

I have seen pictures of them, except XL series, showing only butterfly mirror shutters on the books and manuals.

What I need is a picture or a drawing of the focal plane shutters of PFX systems.

Hi Folks,

I never found an opportunity to work with PFX cameras.

What I know is they have two independent shutters, one with butterfly mirror reflex, the other with spinning focal plane. I have seen the pictures and drawings of mirror butterfly, but the focal plane. Do you have any pictures or drawings of that?

By the way, I have read that XL series use the oscillating reflex mirror apart from focal one.

Thank you for all replies!

Best

The manual is online again!

Cinema Products CP 16R Operations and Maintenance Manual

Enjoy!

I need the scans of the manual and/or schematics of GOKO RM-3D editor/viewer.

Thank you very much for your interest!

I need the CHINON 806/1026 SM DIRECT SOUND owner's manual for my 506 SM XL camera very much. They have common features.

I posted the same for 506 SM XL, I think nobody has one...

I will be very glad if you could donate one in jpeg or pdf.

Many thanks!