David J Paradise

The paint is a really good match, didn't take long to apply, dried in about five minutes and blended better than I thought it would.

I've found what I think is a good touch up paint for the BL4. There were a few chips and a little edge wear I wanted to conceal so I started asking around and searching the net before zeroing in on some matt black paint for the Yamaha R1,R6 superbike. The paint has quite a thick consistency, dries quickly and is a good match to Arri's proprietary paint on the BL4. I used a cotton bud to dab it on and I'm very pleased with the results. Best of all; I found a 15ml bottle on ebay for less than a tenner.

Well, digital hasn't taken me over and I am positive that film will persevere. In fact, the only formats that have let me down badly, with creative work vanishing from sight, are the video and digital ones. The film formats I use are always reliable for both cine and stills. From time to time I choose Super 8mm and power up the Beaulieu's. Other times I'm loading Portra 120 into the Pentax 67. Do I use digital? Sure, when a particular project calls for it but right now I'm shooting Fujifilm with an Arri BL4 converted to 2-perf. For all those fretting and yelling about the possible demise of film; I hope you may channel your energy in a better, more imaginative way and go do something creative whether it be with film, digital, or live performance.

It's great to see a DIY alternative because replacement batteries for the R16 cost quite a bit. I think Wittner-Kinotechnik charge about 179 EURO which is well over 200 USD. I've been using an external battery pack with a modified connector but I'd like to keep the power in the handle so I must give this a try. Thanks!

Interesting results, thanks for posting.

With a $200,000 budget, concerns for natural lighting conditions and operating freedom, it would have to be a 2-perf ARRICAM Lite in my opinion.

Is Phil Vigeant aware of this? Personally, I wouldn't write-off Pro8mm even though these are terribly unfortunate and avoidable circumstances. Best thing is to realise the importance of attending the actual scanning session. In the case of Pro8mm it's unfortunate you didn't have a representative, somebody like Phil Vigeant himself to ensure absolute satisfaction, especially considering the first encounter. I remember back in the 90's attending a Super 8 telecine session at Filmatic in London. They were a small, personable lab who sadly sold out to ToddAO. Anyhow, the telecine operator had a heavy work load and wanted to run off my transfer without specific adjustments. If I hadn't been there it would have been far from satisfactory. In my experience, you're taking a risk if you can't attend the scan. If sending material from the UK to Pro8mm, contact the owner/president Phil Vigeant first.

There are so many factors to consider; it's almost endless. Unfortunately, talent alone isn't enough. Timing is an essential ingredient, as is luck, contacts, abilities to network and communicate at various levels. The list goes on and on. Of course, there must be an opportunistic environment and the ability to take decisive action and advantage when the moment is favourable. All this is terribly difficult for most people especially those who lack funds. There are many gifted people from all walks of life. However, when you factor into it countless distractions and pressures to get a 'normal' career, it's a wonder anyone 'makes it' in the film industry let alone 'making it big'.

Nice camera and accessories; especially with the crystal base and Jurgen door. In my opinion a damn good buy! BTW: This seller is a good eBayer. I've purchased several things and been very pleased.

Thanks Mark. It seems the external link is working.

Or not as it turns out. Can someone offer advice on uploading images please? A search suggested ImageShack which I tried with the Insert Image option above.

http://img99.imageshack.us/img99/6889/cm3compact3.jpg' alt='cm3compact3.jpg'> Uploaded with ImageShack.us[/img] Hopefully the image will appear here. :rolleyes:

I'm curious about your emphasis on having reg pins. In my view, apart from the Arri IIc, the best low budget camera for 2-perf is the Cameflex CM3. Yes, the ratchet mechanism is noisy but it's a great camera with many advantages; variable shutter, range of spares and extras including 100'-200'-400' mags, practicable conversion for 2-perf and PL hard-front, very easy to set-up and operate. With the 100 foot mag it is amazingly compact; see photos of my 2-perf CM3. I think Haskell Wexler used one on American Graffiti?

Have you heard the one, that's been going round a while now, about the excentric Rajasthani billionaire? Has a penchant for Technicolor and obtained the equipment from China with the aim of resurrecting the dye transfer technology in the bathroom of his mansion. Not quite bath-tub processing but close enough.

Even though there's a seismic shift to digital projection with subsequent labs closing, I truly believe there will always be places where you can get film developed.

I remember sceptics back in the 90s stubbornly stating the end of Super 8, it all seemed very convincing at the time. I think if anyone had an inkling back then, of the varieties available today, they'd be lost for words and most likely nobody would believe it. Without doubt there's major turmoil ocurring, especially at Kodak. However, I have faith in film being around a lot longer than some think. It all feels a bit déjà vu; been there and heard it all before. There was truly no reason to worry because we can still satisfy our S8 cravings.

Oops! I dropped a 'p'. It should say: I can taste the splendour.

You know, 35mm will always be beautiful to me. In fact, as strange as this seems, I still dream about 35mm film and cameras. Yes, it's true. Maybe I'm rare but you know what, I don't care because I truly love the look and the smell of film, the camera curves on those gorgeous BL's, the texture of the paint. Seriously, even the texture, the touch and hint of grease and oil gives me a buzz. I'll never part with my film gear, for me it's part of the family. Maybe I'm somewhat selfish but you know what? All those delightful cameras leaving the rental houses for the last time, with their chipped paint and knock-about abuse, are welcome to join my nearest and dearest. I'll tend to their wounds, venerate them and show-off their magnificence. Yes, I can taste the slendour, smell the elegance and listen to the gentle, contented purr for evermore. And I'll bless them with film, real film for the creative endeavor of capturing breathtaking images imbued with emotions that only belongs to beautiful 35mm.

What a remarkable little camera and delightful film. Very much enjoyed it.

How did you get on with Wittner Kinotechnik in Germany? They have an interesting web site but unfortunately most of it is in German language only. It would be good to know if you had successful dealings with them.

I'm impressed with those results and now I'm convinced this is the best solution for my BL. I have given serious thought to a S16 conversion at Arandafilm but U16 solves many issues for upgrading a BL. That's it, I'm going the Ultra 16 route.