Bruce Taylor

$8200

It looks like most of a Kinor 35H made between about 1986 and 1991. It also looks mostly original, but someone has added a video tap port assembly to the viewfinder housing. If the electronics work they would be running at 16-18v. The batteries pictured are probably exhausted, so it it's unlikely you would be able to get it to work without putting together new ones. How much do you want for it and where are you located? Bruce Taylor www.indi35.com

Here is is again folks. I have decided to try it as a complete, ready-to-shoot camera kit with lenses and even batteries, chargers and the LCD monitor. For more pics, take a look at the ebay auction $12,500USD plus shipping. The camera has just been serviced by Cinema Engineering and is ready to shoot today. The viewfinder optics are bright and clear, the groundglass is marked for 1.78:1 (16x9) and Techniscope native 2.40:1. Aranda Film performed the 2 perf conversion and installed the Rotavision 5000 electronics package. The camera requires 16 to 24v (2 NiMh 16.8v battery packs and chargers included). 1 to 50 fps speed settings in .01 fps increments, 24 and 25fps preset crystal speeds. Standard 4 pin XLR power. Uses standard Kodak or Fuji 35mm motion picture film. The techniscope format is supported by most major labs and post production houses. The camera and accessories are in excellent mechanical condition. The camera body and 500ft magazines were repainted black from their original grey and show normal wear. The lenses are almost like new. There are 2 tiny marks (I can't photograph them) on the rear element of the 50mm near the outside edge. Kinor 35H body serial # 870017 complete with all caps 2) 500ft magazines 2) 1000ft magazines Extension viewfinder Baseplate, sliding plate, dovetail, 15mm x 450mm rods 5 geared Lomo prime lenses: 18mm T3 s/n 910079 (first 2 digits of s/n indicate year of manufacture, in this case 1991) 22mm T2.4 890043 28mm T2.2 900263 50mm T1.4 900029 75mm T1.4 900039 (I also have two 28mm T1.5 s/n 870022 -very good- and 900030 -like new- superspeed Lomos, if you wish to substitute for the 28mm T2.2 for $1000 or $1500 additional, respectively.) Matte box (swing-away) for 4x4" and 4x5.65" filters (with Raf filter trays) Body mounted follow focus for Lomo primes B&W video tap + 7" monitor, cables, Noga arm, plus spare video camera 2x belt type NiMh batteries, 2x battery chargers, 4 pin xlr main power cable The camera is located in Los Angeles. Local inspection, testing and pick up is welcomed. Domestic and international shipment. Interested?, call Bruce at (909) 641-2339. Also, check out more information about the system at http://indi35.com/2_perf_techniscope http://www.kinor.arandafilm.com.au/NewFile...r5000page2.html http://konvas.org/faq/kinor-35h-35mm-motio...ure-camera.html http://www.2perf.arandafilm.com.au/

Hey! I resemble that remark! No, not really, I am all grown up now (mortgage, student loans for my kids...) -- but I know what you mean. Some really good points: Wesley's comment about living in LA. You should come out here for a week or two (if you haven't already) and see if you even like it here. Visit some of the people on this list perhaps. Lots of folks don't like living here, and it's easy to see why. Traffic, earthquakes, mudslides, fires, bad air... shall I go on? I've been here 30 years and I still love it. I came from the San Francisco Bay Area, and while I miss the very pretty NorCal landscape I prefer to live here. I find it exciting, and I love the mix of cultures and variety of things to see and do. But lots people don't like it. Second, John's comment about availability of work-- I thought it was just me! Slowwwwww. No one knows knows what the next couple of years will bring. Good luck, Bruce Taylor

Hey Adrian, I usually stay out of these types of discussions, but I'd like to add a few words. First, I like Tom's comment! That's a very good job offer, and it could take nice care of you (and a significant other, and the kids...yea, it happens to most of us) for many years. And it could be interesting, and you could continue to work on personal projects. How big an issue is economic stablilty for you? and in the foreseeable future? Or you could move to Hollywood and see where you can go there. I think that if you really want to go west you should go now. You know it's a relationship business, and the sooner you establish those relationships the better off you'll be. You seem like a bright fellow, you could get some kind of a job to support yourself while you worked up the chain. What is it you really want to do? One can make a nice living being a cog in the giant entertainment machine here. Would you be happy being "in the industry" in LA in any position? I have a friend who was apparently considered quite a talented writer/director early in his career, now 20 years later he works to support his daughter as an assistant sound editor. I think he likes it, but it is a fair distance from his original goals. Would you be more comfortable with that scenario or with making your own projects that are interesting to you in your off time while you make a nice living through the University? You're a lucky fellow to be in this position. Good luck! Bruce Taylor

Exactly as Kar Wai notes, the curved field is an arc. That, along with the more shallow depth of field and flares (as David pointed out) are the issues. Bruce Taylor

Is the car going to be running? You need to know the output of the alternator or you can fry stuff. A modern car will be a 12 volt system (charging at about 14.5v), and the alternator will put out anything from 40 to 200 amps depending on the specific car. If you look the car up in a replacement alternator parts catalog they almost always give the rating of an alternator if you can't find it easily in the owners manual. Maximum output will be reached at 2000 to 2500 rpms. Do the math to figure out how many watts at 120v you can get, while leaving 20 amps at 12v to run the car itself, while not running any accessories (lights, a/c, etc). If the car isn't running, you'll be running straight off the battery, so you can't run a whole lot of watts for very long, say 100 to 200. You can keep an eye on the voltage with a volt/ohm meter. Don't pull it down much below 12.4v unloaded or you're going to have trouble starting it again without a jump. Be careful. Modern cars have a lot of electronics that can get very unhappy if they are asked to run on low or "dirty" (A/C waves in the DC) voltage. Bruce Taylor

Mike Lary! my apologies for misspelling your name. This is what you said: "The definition of the word 'fine' means of exceptional quality. A fine wine, a fine cheese, and a fine painting are of a higher quality than the majority." So I replied, "..."fine art" as a term, not a judgement: maybe you're talking about renaissance masters that have survived for 500 years? I would agree, that's "fine" stuff. But contemporary fine art... are you kidding?" That is how my statement could be a response to specific statements you've made in this thread. No need to get riled. I don't get the aggressive attitude that internet forums seem to inspire. Bruce Taylor

Hey Pierre, I always have the mags serviced by a camera tech, I hear they are a bit fussy to adjust, plus the fact that the belts are usually shot from being so old (most of the Russian stuff that becomes available hasn't been serviced in years and years). As far as the electronics on the Kinor 35H, yes the originals are unreliable. That's why they have been replaced on my Kinors with the exception of the stock one I sold a few weeks ago. The motors themselves seem to be robust, it is the circuits controlling them that give the trouble. Bruce Taylor

Nice job, Paul. It just goes to show that there are few things that can't be made with a few pieces of angle iron and box tubing! Not a rig for handheld work, is it. Bruce Taylor

Hey, I like that, Keneu! And to excitable Mike Lara (stay passionate fella): my thoughts to your response to my defining the term "fine art" as a term, not a judgement: maybe you're talking about renaissance masters that have survived for 500 years? I would agree, that's "fine" stuff. But contemporary fine art... are you kidding? (I'm still not over Schnabel's plate "paintings," but some people love them.) Back to my ceramist's analogy, depending on the work put in front of me and the time of day, I may find a filled coffee cup more "fine" than the "fine art." In the end, very little of this matters much, if at all. When I was young, art was like religion to me. I loved it, it got me up in the morning. Unfortunately, there are very few other people in this world that feel the same way, and in the end, fine art's (especially visual art) ability to influence lives is limited. There are a few grand exeptions to this, but very few. Bruce Taylor

Congrats Tom! I like this kind of filmmaking, Koyaanisqatsi is one of my favorite films. I've looked at your work up on vimeo, great stuff, it will be wonderful to see what you come up with after all that time on the road, then weaving together 45 mins of material. Bruce Taylor www.indi35.com

This is an interesting and unexpected thread. I think fine art often gets a bad rap simply because of its name. Like it's more "fine" than "regular" art. That's not the case, it's just its name, a way to identify it shorthand. I once had a ceramist oversimplify it this way: if you can use my work to hold a cup of coffee it's pottery, if it has no practical use, it's fine art. It doesn't mean the "useless" piece has more or less value than the coffee cup, it just has a different purpose. I think one reason you may be finding it hard to find specific publications that discuss fine art using film or video as a medium is that in the fine art world film and video live in the same pool as performance art, conceptual art and to a lesser degree painting and sculpture. Fine art moving pictures are generally out of the realm of what we generally think of as "the movies." As Paul pointed out, movies as we normally think of them are a theatrical art. We suspend disbelief and accept that what we see in front of us is the real world playing itself out. That's a useful convention for theater arts, but it is generally not applicable to contemporary fine art. A recording of a conceptual art performance is a limited historical record of something that existed at another time and space, it isn't a representation of the performance experience nor does it pretend to be (Chris Burden's Trans-Fixed as an example). Or take Warhol's hours and hours of the Empire state building or a man sleeping. This is more like a moving painting or even sculpture, it is certainly something entirely different from going to the cinema. Two of my favorite works that make some statements about what fine art is are Magritte's painting of a pipe titled "This is not a pipe" and Duchamp's sculpture "Fountain," which was a mass produced ceramic urinal hung in a gallery. Magritte's lesson to me was to remember that art is a representation, it is not the actual thing (though this was challenged by conceptual artists later, but the idea holds true most of the time). Duchamp hung his mass produced urinal on the wall of a gallery and called it art, because he said it was. That forces the viewer to consider what art is, and pushes the boundaries far from representational concepts. Back in my art daze I got most of my news about fine art film and video from fine art publications, I would look there. Bruce Taylor www.indi35.com

I am continuing to move out a bunch of Russian gear. A nice Kinor 35H converted to 2 perf Techniscope by Bruce McNaughton at Aranda Film. It features Bruce's Rotavision 5000 electronics and a b/w video tap. 2x 500ft and 2x 1000ft mags, extension viewfinder and std baseplate and rods. Cinema Engineering is finishing up a service on the camera this week. (ebay 330396048567) $7500 I have another 4 perf Kinor 35H Modified by Slow Motion Inc with modern digital motor electronics, a rebuilt viewfinder system with video tap (use your choice of c-mount vid camera) and all the usual accessories (mags, baseplate/rods, body mounted follow focus). Excellent condition. $6500 I am selling a Lomo prime lens set in OCT19 made for the Kinor, so they have the focus gears to mate with the Kinor ff (Canon .8 pitch). 18mm T3, 22mm T2.4, 28mm T2.2, 28mm T1.6, 50mm T1.5, 75mm T1.6. These were all made in the late 80's and are in near new condition. The 50mm has 2 tiny marks on the coating of the rear element towards the outside edge, but they do not affect the image. Front and rear caps for all. $6300 for the set Lomo OPF 18 20-120 T3.1 macro zoom lens with both (1.5 and 2.1x) rear tele-extenders plus the Anamorphic rear attachment. OCT19 mount. Flawless, perfect mechanical operation and optical condition. 32 pitch gears installed for zoom and focus. All caps and case (a bit beat up) included. $6000 Lomo Roundfront Anamorphic (35mm, 50mm, 75mm all T2.4) lenses. They all have 32 pitch follow focus gears installed. The glass and coatings are pristine, mechanically they are like new. front and rear caps. (ebay 330396054591) OCT19 Russian mounts, but they are easily adaptable (I think 500-600 per lens) to PL. Alternatively, I have a Doug Underdahl OCT19 to RED lens mount available if you purchase the set. $8300 Contact me for further information or photos. Everything is located in Los Angeles if you want to take a look. My website http://www.indi35.com has most of the items illustrated. I am open to reasonable offers, especially if you want to put together a lens set and camera body for a complete kit that's ready to shoot your next feature (or short) in glorious real 35mm. BTW, Visa/MC/AMX/Discover as well as Paypal accepted Bruce Taylor www.indi35.com bruce@indi35.com 909 641-2339

Yea, or sell it when they're done and get the film savings plus zero equipment costs. Bruce

Daniel, I am almost sure it is the one on the upper left, it is marked with what looks like an "E" in the 3rd photo. That is the symbol for the anamorphic gate and groundglass on Kinors. I don't have one in from of me to check, maybe someone else can confirm. Bruce Taylor www.indi35.com

Hi All, I am continuing to clear out inventory: I have a nice Kinor 35H converted to 2 perf Techniscope by Bruce McNaughton info at Aranda Film available. You can find the ebay auction here. It features Bruce's Rotavision 5000 electronics link and a b/w video tap. 2x 500ft and 2x 1000ft mags, extension viewfinder and std baseplate and rods. Cinema Engineering is finishing up a service on the camera this week. $8000 No lenses are included, but I have a set of spherical Lomos and an OPF18 20-120 zoom I am putting up for sale later this week. Questions? bruce@indi35.com or 909 641-2339.

You really need to know what it is you want to shoot. The Konvas is an MOS camera, small and light, the Mitchell is a studio camera. It's easy to haul a Konvas to remote areas and mount it on lightweight supports or hand hold it. The Mitchell weighs a ton and is made for a studio environment where it works perfectly. One won't do the work of the other very well. Visual Products was selling some old BNCRs at a good price last time I looked. Bruce Taylor www.indi35.com

Some people I like, in NY Rich Kalinsky Raw Stock, Inc. 1133 Broadway 7th floor New York, NY 10010 212 255 0445 212 463 9420 fax in LA Reel Good (323) 876-5427 7758 W Sunset Blvd Los Angeles, CA 90046 Bruce Taylor www.indi35.com

Hi Niclas, I think the first thing I would do would be to measure the voltage with a voltmeter at the battery. A fully charged 8v battery will show about 9v or a little less. If it doesn't, the battery is no good. Might as well buy a new battery for it and test it, though. You'll need 2 batteries if you decide to shoot some footage with it. Bruce Taylor www.indi35.com

I don't get the "flat image" statement. Yes, the grain would be increased, but I don't see how that would "flatten" the image. Anamorphic lenses do have reduced depth of field for the equivalent angle of view of a spherical lens; maybe he was talking about getting focus separation of the subject from the background? The true Techniscope process used the Technicolor dye transfer printing process which actually reduced the perception of grain in the final print. Using standard printing techniques does make the grain in the 2 perf process more apparent than true anamorphic. To answer the question, "In your experience and observations, is there anything specific to techniscope that produces flatness?" it would be no, not in my experience. Bruce Taylor www.indi35.com

That is a spiffy work around, the permit issue especially. Now the question would be how big a service is hooked up to the house and how much space there is in the box. Standard these days is 100 amps, I think. We lived in a place built in the '40's with a 30 amp fuse box, so obviously that wouldn't work! Bruce Taylor www.indi35.com

Yes, it is a great looking film. I don't remember the S8 sequence during the titles as looking "good".. it looked like S8 home movies, which is exactly how it should look! This thread should answer most questions http://www.cinematography.com/index.php?sh...0&hl=summer Bruce Taylor www.indi35.com

Let's think this through a little bit. I think Adrian stated that this is illegal in some areas, and I believe it is where I live in Los Angeles. And it's potentially friggin' dangerous. So if you don't have a proper electrician doing legal work and something goes wrong... you're the responsible party, legally and otherwise. Just do it the right way, and if you can't afford it, don't do it. Bruce Taylor www.indi35.com

Saul makes excellent points. It's a little off the beaten track, but there has been interesting chatter on the www.Konvas.org Russian camera site about the 7D, whose sensor is about the size of a 35mm motion picture frame (unlike the 5D which is larger). Several members have been buying the 7D and coming up with Russian OCT19 mount adapters to the Canon, enabling the use of Lomo professional cine lenses on the body. PL mount lenses don't work so well because their flange depth is 55mm (too short) but the OCT19 Lomos are 61mm. The rolling shutter issues can be corrected with a nifty plugin here Double system sound recording is needed (unless you're working to playback of course), the stereo xlr mic input Zoom recorders are popular. As a primary video camera they are still probably a bit too much of a kludge, but things are changing fast. Bruce Taylor www.indi35.com