ecozyz

I got a non-sync s16 camera. ( an a-cam ) Its great etc. But Im going to shoot a pop-clip, and needs TC ( SMTPE ) on the film. The idea is to rent a plate/scriptboy with visual TC on it. Any good ideas, how to save money etc.. ( can you build one your self? can you buy a very cheap one, and not rent...?) The idea is to play the music from tape With TC and the point the cam to the plate on all starts/stops.. still there might be som sync problems, since theres absolut NO sync on this cam, but thats expected... Tom

I ended up with buying to different mounts/adaptors. A Arri bayo/st mount -> C mount ( old cheap century thing) and A Arri PL mount -> C mount (Bosher) Need the camera to be very flexible, also in mixed enviroments..( many DOPs insist on using the ultra primes) Still thx everybody for your thoughts and help..

You might be right, but I found a ok priced 16mm Schneider with arri ST mount ( guess its 1:2.0 or better) and decided for at converter ( around 100 pounds so its not that bad..)( les bosher) But yes im still new to this "far to light helmet cam", having worked with heavy film/video eqip for more then 20 years.. Still I just need a "head and shoulder lense" ( of a good quality ).( that workes from f22 down to f2.0 on s16) And No I havent converted to the reflex version, just bought a 9 inch 16:9 monitor instead..( the cam has a "video ass" that is "fixed 9mm" ( and quite precise, at showing the excact framing ) When working on the 16mm lense its quite simple just to have marked - with a pencil, on the monitor - the framing limit of this lense And yes I do have freinds who has zeiss primes with arri st mont, so theres the "other" reason for buying a "converter" Also If i whant to buy the eg century 3,5mm its easier to find with arri st mount

A clever guy:Mitch GrossNYC DP expaines a lot here: A lens mount has nothing specifically to do with a film format, but here's some basic info. I swear I wrote this all up before, but perhaps it wasn't on the CML. I'm going to skip some ancient and obscure mounts. Arriflex Arri started with their standard mount, which was a ring with a small tab inside. This was common on the 35mm Arri 2c (and variants) and the 16mm Arri S. Later they developed the Arri Bayonet mount, which was the same sized ring with two outer "wings" that locked the alignment of the lens and provided a stronger mount. Standard mount lenses could be used in Bayonet mounts but not the reverse. This mount was common on later Arri 2c, S, M, 16BL, SR 1, SR 2, 35BL1, 35BL2, early 35BL3, 3c and early 3 cameras. This very popular mount was replaced by the Arri PL (Positive Lock) mount, which features a large four-point flange on the lens and a clamping disk on the camera for a very strong and stable mount. With adapters, Arri Standard and Bayonet lenses can be used. This is the most popular mount available today, standard on such cameras as later Arri BL3, BL4, BL4s, 535a, 535b, later Arri 3 models, 435, Moviecam Super, Compact, SL, later Aaton 16 & 35 cameras, ArriCam ST and LT models. C-mount A threaded, screw-in lens mount of a rather small size. Generally only good for small primes and lightweight zooms and used primarily for small 16mm and industrial video applications. Cameras include Bolex, Beaulieu, secondary mounts on the Eclair NPR and ACL, and numerous industrial video cameras. The C-mount has a very short depth, which means that adapters mounts which put the lens further out can be made for numerous types. I've seen adapters for C-mount cameras to take all the Arri mounts, plus just about any still camera or other cine or video lens mount one can think of. There's still the issue of the fairly weak thread design, but some adapters get permanently installed and hard mounted to the frame of the camera body. Eclair Eclair developed the CA-1 mount for their cameras when introduced in the late fifties. This mount uses a two-prong flange like the PL but is much smaller, about the size of the Arri Bayonet. This mount was available for the 35/16 Cameflex (CM-3), some high speed cameras and the 16mm NPR and ACL. The ACL also offered adapters for other mounts including Nikon and the smaller Arriflex mounts. Today these cameras can also be retrofitted to PL mounts. Aaton The Aaton mount is a three-prong flange that is about the same size as the Arri Bayonet mount, but it's great advantage it it's relatively shallow depth. This allows it to accept various adapters for Nikon, Leica, and the smaller Arri mounts. This mount was standard on the Aaton LTR-7, LTR-54, and early XTR models, and was an option (instead of PL) with the XTR-plus and XTR-prod. The Aaton mount is almost identical to the Cinema Products mount (CP-16 and CP-GSMO cameras) and with slight modification any CP camera can accept Aaton mount lenses. There are other mounts out there such as BNCR, Panavision, plus the standard (and not so standard) video lens mounts but I think this answers the spirit of your question.

tnx for answering. Decided to go for Arri Standart mounts, since there are quite a few fast zeiss and other optics with that mount, you can by rather cheap. ( or that i can borrow from freinds) Before that decition, I was on my way to go for the 16mm Switar.. Just got a little confused with the preset and the many reflex/non reflex discussions youo see on the web.. Now I just need the converter from arri standard mount to C mount.. Guess I will find that one on Ebay, or as new in UK ( optex or Les Bosher)

its not very noicy.. Got one, have made som recordings with sound.. the engineer sayd nothing.. so thats good no reflex, but if you buy the "package" with a video assist. and later buys a cheap 16:9 lcd monitor, you have a "modern" vievfinder.. Its a very small camera, that reminds me of a "pd150" or the new HDV cams, And I think the camera is ment to be used like one.. ( lots of handheld, in cramped small rooms etc)( following people in reality shows etc..) Only thing I seem to miss after using it a few weeks, is one or two optics.. eg like 15-20mm and also a "wild" wildangle eg century 3,5. Still with out these optics ( and the problem this being a non reflex) what comes out of it, is really nice!!

Been surfing like a madmann the last couple of days.. Reason why, is that I would like to get a ( around) 16mm optic on my a-cam, that has a c mount. And after 1000 ebay pages etc, I seem to find, that there are NO ( good) old optics in that "area" ( 15-20mm) with a c-mount. So I guess I have to go for a ??->c mount.. ( converter) But what way to go?? Guess im ready to pay for a "older" zeiss ( not the fastest, but pretty fast), but they come in "many mounts".. eg "bayo", arri "standart" , eclair Aton etc... and I think many others.. Have seen the optex page, so I know the converters are out there, and the optics, too.. now I justy need your help..

Just got my a-cam (http://www.ikonoskop.com/] and thats great. The problem is that its "born" with a very nice 9mm kinoptik optic. ( c mount) The other day i needed the abillity to make a "head N Shoulder" shot.. ( difficult with a 9mm) then I was thinking..: are the Sidefinder optics worth enything!? ( compared to modern optics) ( some goes for $1200) eg. like this one http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...item=7609360140 Was considering going for a PL/ arri st. -> cmount ( the a-cam has a c mount) and then going for a 16mm.. maybe 20mm zeiss as the "beauty shot" optic, and the kinoptik as "see what you get" optic ( the paralel "finder" is fixed for 9mm) Guess I would find the "limits" of another optic after a few pictures on eg. a wall from 2-5 distances... ( just to check the framing.. etc..( will paint the "frame" on my monitor) finally Anybody with experience with the century 3,5mm optic.. saw some shots done with it.. and i sunlight is doesnt entirely cower s16.. ( guess at f-stop 16-22) does it cover s16 at eg f8 ?!