Bruce Taylor

I know little about Arris, but I am pretty sure the perfs and the concept should present no problems. When I was a kid I regularly projected and edited my 8mm movies on 16mm equipment without problems (other than everything goes by twice as fast!). I borrowed the 16mm gear from the AV closet at school because I couldn't afford a projector or editor (paper routes pay poorly). I use the same principle with 2 perf 35mm. You can project a 2 perf workprint on any 35mm projector, the images will just be half as high and go through twice as fast. Good enough to check critical focus or other issues. Bruce Taylor www.indi35.com

Here's a Panavision PSR for sale. http://www.cinemagear.com/index_files/Page1593.htm Comes with some history, too. A little pricey though, and no glass :( Bruce Taylor www.indi35.com

Hey Paul, I would have to agree completely with John and James. An amazing work. I think it played for at least year in my town when it came out. Bruce Taylor www.indi35.com

I think Rob pretty much nailed it down-- though his use of the term "'scope" might be a little confusing. Some people use the term 'scope as shorthand for Cinemascope, or anamorphic. Rob is using it here to describe Techniscope. It is (and was) a way to get a 2.35:1 aspect ratio movie made more cheaply than true anamorphic. Anamorphic 35mm is more expensive to shoot than 4 perf flat widescreen. Techniscope can be cheaper than any 4 perf format. And you get that Cinemascope expanse. You pay for that with grain from the higher magnification of the image. I'm sure you're aware of its Italian origins and the package deals provided by Technicolor to promote the format, Mr. Vale has provided many insights into that part of the history. It's faster and cheaper to shoot Techniscope as opposed to anamorphic, that's really the bottom line. The current interest in anamorphic artifacts (the distortions in bokeh, horizontal flares, etc,) is a retro fascination with faults of the anamorphic system. As far as Godard's filmmaking, you're the expert here. I was never able to sit all the way through one of his films. But since filmmakers of his ilk were usually working with micro budgets, I would think Techniscope as a way to cheaply get the anamorphic aspect ratio might have been his plan. BTW, a 35mm anamorphic WA lens has approximately the same angle of view as an 18mm spherical lens on a Techniscope camera, so there isn't much difference on that front, though very long lenses are hard to find in anamorphic. Bruce Taylor www.indi35.com

Paul moved his shop out further into the valley, he's in Canoga Park now. http://web.me.com/ducloslenses/Duclos/Contact.html Bruce Taylor www.indi35.com

Hey Paul, There is a bracket on the motor assembly (which is not in your picture) that slides up along that silver ramp to the retainer knob you first illustrated. The motor has a bayonet mount to the camera body itself, but it needs the extra support and precision locating of the additional support arm from the motor to camera. This is probably because the motor can be used as a handle in hand held use, supporting the camera, lens and mag. Bruce Taylor

First of all, the 2 perf scene has been changing rapidly, so stick to the internet for current information. First thing to do would be to do a search for "2 perf" and "techniscope" right here on this forum. There is a ton of discussion. I have collected a selection of informative links on one of my pages for Indi35.com here: http://www.indi35.com/2_perf_techniscope www.indi35.com is also the site where my 2 perf rentals are located for anyone that may be interested. Bruce Taylor www.indi35.com

And 2 perf 35mm is the cheapest way to that, as Paul points out. Cheapest way to do that is rent a 2 perf camera (shameless plug: I have some) or have an Arri IIC converted by Bruce McNaughton. Buy short ends at .05 to .10 a foot, get .10 a foot processing, TK the negative to HD and cut it, bingo, you have your 35mm feature. Do the math with Super8 and see what your numbers really are. Bruce Taylor www.indi35.com

WTF? Sorry, this generator story doesn't add up. Emissions from a generator in SF would be regulated by the local Air Quality Management District, or AQMD. There would have been a period of discussion before new rules were implemented. Following that, there would be a reasonable time period to either retrofit older machinery or phase in new equipment. If someone got "surprised" it would be because they weren't reading their mail for a couple of years or aware of what was happening in their own industry. My primary business (in California, so I do know what I'm talking about) is heavily regulated for emissions of any kind. Everyone's in the same boat so everyone has to upgrade equipment when rules change. The additional cost, if any, is passed on the the consumer. Then we all get cleaner air and a safer working environment. Oh, and I make more money. Those are all good things. Bruce Taylor www.indi35.com

I've also had great results with Deluxe LA. They co-hosted the 2 perf seminar at Cinegear, so they are down with 2 perf, too. I'd give them a 5. Great price, excellent quality, jobs done on time. Just be sure to get a sales consultant to work with. Bruce Taylor www.indi35.com

For your consideration: McCallister Studio Crab Dolly Classic camera dolly with smooth hydraulic boom arm plus hydraulic camera platform risers. It all works, and works well. Asking $3000. Check it out on ebay here. (Sorry, camera and Worrall head not included!) Bruce Taylor www.indi35.com bruce@indi35.com

Hey Tom and Paul, I need to get into an O'Connor 100 of mine, too. What sort of silicone fluid is in the thing? and where would I get it? Bruce Taylor www.indi35.com

I don't know if they're still doing it, but A&I on Highland was offering this service a couple of years ago. There were a lot of problems with their pre-loaded cassettes (very expired stock in at least some of them). Might be worth a phone call. Bruce Taylor www.indi35.com

Still available, price reduced for cinematography.com readers to $4200. More pics at ebay auction # 330362581619 . Bruce Taylor bruce@indi35.com

For your consideration, a genuine McCallister Crab Dolly. It is in very nice condition. It has an electrically charged hydraulic boom arm that rises from about 14" to about 5 ft. Then there is a 2 tier extension that will rise another 2 feet or so. The boom and extension are silent in operation, up and down. The electric pump with automatic shut-off charges the pressure reservior before use. It steers both from the rear and in crab mode. The camera mount is Mitchell standard, and the Worrall head and camera in the pic are not included. Everything works, and works well. It seeps a little fluid here and there, but nothing that would require a repair. The tires are all there, are round and hold air. $3200 Local pick up (los Angeles), this thing is heavy! Bruce Taylor bruce@indi35.com or give me a call, 909 641-2339

Hi Donald, I have a couple of heads available. A full sized 2 speed Worral and an older HUGE brass Mole Richardson one speed (it will hold a 65mm camera in a blimp!). The Worral is in excellent condition, and I went through it and replaced the grease. One wheel has a little wobble in it but it does not affect the operation. I'd like to get about $2000 for it. The Mole works, needs a clean and lube and a secondary wheel is missing, though it works just fine. $800. Let me know if it interests you. Bruce Taylor bruce@indi35.com

I'm going to take a wild guess here that the screw coming out if the tripod head is 1/4" and the hole in the bottom of your Eclair is 3/8? If that's the case you should get a tripod head with a 3/8 mounting screw that's made for a bigger camera, because 1/4 is for light duty stuff. You could of course bush the Eclair mount hole down to 1/4, or alternatively adapt the 1/4 screw to 3/8, but that's not good practice. Bruce Taylor www.indi35.com

Kinor 35H Camera, Crystal Sync Silent 35mm Camera see pics on ebay, 330359261265 $4500, free shipping to continental US This Kinor 35H outfit is complete and nearly new. I appears to have been used once since it was made in 1991 before I bought it as a spare. I have never used it, but I did shoot tests that came out fine. The viewfinder optics are bright and clear. I have converted the Russian power cable to standard 4 pin XLR. The camera requires 18v (easily converted from 18v tool batteries or make your own SLA packs). 24 and 25fps switchable crystal sync. Up to 32 fps with variable speed control. It has been converted to B&H perfs. It is a complete camera set consisting of: Kinor 35H body serial # 910089 complete with all caps 2) 500ft magazines 2) 1000ft magazines Extension viewfinder Baseplate, sliding plate, dovetail, 15mm x 450mm rods Body mounted follow focus for Lomo lenses Handheld handle w/remote start/stop Aluminum original cases Complete spare electronics module + addl set of spare circuit boards No lenses are supplied with the camera. It uses the Russian OCT19 (aka as OST19) lens mount. These lenses are usually available on ebay. Many lenses are available from 18mm to 1000mm. If you are interested, I have the complete original power supply and variable speed electronics modules available at no cost if you purchase the camera, just pay for shipping. For description of the Kinor 35H camera system take a look here: http://konvas.org/faq/kinor-35h-35mm-motio...ure-camera.html For a description of the various modifications (including 2 perf Techniscope conversion!) available, check out Bruce McNaughton's site here: http://www.kinor.arandafilm.com.au/ A link to my Kinor/Konvas rental site: http://www.indi35.com The camera is located in Los Angeles and available for inspection and/or pick-up. Thanks, Bruce Taylor (909) 641-2339

I have no idea what your camera budget is but it might be worth looking into buying an Arri IIC and having it converted to 2 perf. Bruce McNaughton of Arandafilm.com.au does these conversions. Then sell the camera when you're done. ...just a thought Bruce Taylor 2 perf rentals www.indi35.com

Well Paul, I am not going to be authoritative, but I think it will not work. I don't have mine in front of me, but believe the front of the main body casting if the 1M is quite different from the 2M. I suspect the easiest way to do it would be to replace the 1M's turret with a plate that has an OCT19 mount on it. I'll dig around in the garage tomorrow and see if I can find the bodies. Bruce Taylor www.indi35.com

The curved field of focus- I saw it with my Lomos and it makes sense if you think about it. Most camera lenses are not flat field lenses, that type of correted lens is primarily used in graphic reproduction. So lenses used for still or motion picture work are going to have a curved depth of field, we just don't notice it most of the time because it is slight. Anamorphic lenses being about twice the focal length of sphericals have proportionately shorter depth of field, and this becomes especially apparent wide open, of course. I haven't tried it, but it would seem that a string or tape from the focal plane swung in a horizontal arc would show you the depth of field curve at any given distance. Bruce Taylor www.indi35.com

I second that. I shot some 16mm Ektachrome a couple of years ago and put it up on my projector. I had forgotten how absolutely beautiful direct projection of camera original can be. Yes, exposure is critical, but why not get good at it? Bruce Taylor www.indi35.com

Is it a light meter made for photography? The usual photographic terms are incident, reflective, or spot; there are many other lightmeters out there for other purposes. I would stick with a lightmeter designed for photography at least, if not one made specifically for cinema. The most useful for cinema is the incident type. A spotmeter may be a useful addition, they are reflective (the 18% gray thing). I think Sekonic makes a nice electronic combo (incident/reflective/spot) meter. If that's too expensive the old Spectra incident meters were pretty much the industry standard, available cheap on ebay. Also, whatever light meter you end up using you should be sure it's calibrated so you know it's accurate. I like George at Quality Light-Metric Co. 7095 Hollywood Blvd. Hollywood, CA 90028 (323) 467-2265 Oh yea, and follow David's Film Lighting advice. He gives it a lot, but he's right. Have fun, Bruce Taylor www.indi35.com

Maybe he's shooting a Western? Reflectors are cheap! Concerning the "nasty yellow cast" of those Lomo anamorphics, Bernie over at Super16 Inc gave me a tip on that, though I have not yet tried it myself. He says ultraviolet light will cure it. Put some aluminum foil in place of the front lens cap and face the naked rear end of the lens on a window sill facing the sun. He claims a day or two will eliminate the yellow. I have to try it sometime. Something about the rare earth elements in the glass I think. Bruce Taylor www.indi35.com

Oh, I couldn't agree more. Bruce Taylor www.indi35.com