andrewbuchanan

Please PM me with what you need in a camera package. I have a very nice Les Bosher S 16 NPR Conversion, with a lot of custom work, and all the bells and whistles (filters, LW matte box, Arri follow focus, etc) that I may be selling soon. Everything in my package has been professionally maintained and is in top condition.

I have a Nikon to c-mount adapter on my eclair, when I want super tele, I flip the PL mount around and use Nikkors. They are outstandingly sharp, a little warmer than my Optars... but very cheap to rent or own. I think the 300 - 600 are some of the sharpest lenses you will ever see.

Hi. Have you selected anyone for the job yet? If not let me know. I'm in the area and may be interested. Drew

Thanks for the input everyone. A local rental place near me has one and it was cheaper than renting a wide lens (I have a 12mm Zeiss to attach it to), I was just wondering if I would get good results. It sounds like it is worth a try.

My constant motor has an 18V 4amp (I think, it isn't in front of me) battery, for the constant 24fps motor and a VS motor. I've never heard of anything higher than 24V for the IIc motors (including the CE base which goes up to 80FPS). So I don't think it is a power supply issue. I would also consider the following: Is your tach out of adjustment? Are you getting 24fps and the tach is slow? Check the camera's speed with no mag or you may need a frame speed tester from the nearest shop. Also, try your motor on another IIc if you can find one. Is you mag causing a torque problem for the motor? Try running with 400' in the mag but not threaded through the camera body (leave it taped-up or place it on the feed roller backwards so it doesn't come off the roll). Can the motor push this load at 24fps? If so, it might be a threading or lub issue. Finally, as Stephen mentioned, lubrication is very important and the easiest problem to fix. I would begin there. I wouldn't think that the voltage/amp issue would be the cause of the problem though.

I've made several posts in the past about the NPR. I have one, and it really is a great camera. Totally comprable to Arri SR and Aaton LTR 7. Better in some ways (adjustable shutter). Especially when you are paying for one. The Bolex is a great music video/documentary/b-roll camera, but lacks the ability to modernize and accessorize like a NPR. Anyway, look in the archives. Here's a pic of my camera with an Optar 50mm on it.

Honestly, I am not sure who did the work. The camera had this custom work when I purchased it. Whoever did it certainly did a great job. It is a really cool system to fit all three mounts on a single hardfront. I see different mounts for the IIC and III on ebay from time to time. You might be able to stick one of these on your camera... or you could always buy mine :P The price for camera without the lenses isn't too much more than getting a hardfront! :blink:

Brian, Don't worry. This really isn't a problem. It happens to everyone from time to time. Your lab should be fine processing without the core. Just let them know on your camera reports or the outside of the can (so they know when they prepare to process that load). Good luck.

Rolfe, The mount is a single hardfront that has detachable mounts. The attach with 6 or 8 bolts to different patterns drilled in the hardront. Switching is relatively simple, and could be done in the field (probably a 15 minute job though). It would be best to do in good light on a table some place. Attached is a photo of the hardfront/BNCR mount. You see inside where the smaller PV and Arri mounts attach to the hardfront. To remove the BNCR you have to take out the 6 flahead screws that are visible on the second tier of the mount, then remove the bolts that hold the mount on. It is a very secure and solid mount. Hope this is helpful to you.

Rob, While the NPR makes a great camera to convert to S16 but the finders are a weak spot. Even the Angenieux has a slight crop on the lower edges of the S16 frame, no matter what you do to it. This being said, one can make an adjustment where the finder attaches to the camera body to recenter for S16. Some times this isn't needed, when Les Bosher did my upgrade he managed to fix the finder without making this adjustment. At one point, I was going to make the conversion myself and I seem to remember that this was one way to fix the finder. But first, make absolutely sure that you need the conversion (shoot charts, what is the difference between you finder and what you gate is getting?) and have the proper S16 marks on your ground glass (so you will have a proer frame when you get done). My camera isn't in front of me, so I'm working from memory here (and there may be some residual damage from college), but I think there is a small plate that attaches to the side of the camera body with two screws. This has something like a c-mount on it that the finder screws on to. The adjustment works like this: First remove your finder. Then remove the screws. Then slide the little mount UP 1mm on the body then mark the new screw holes. At this moment you may want to re-attch the finder and look through it to make sure you are in the right place (i.e. is the view better and more centered?). If it looks right, then have your TRUSTED machinist put some new threaded holes into the body of your camera. Then reattach everything and cover the old holes so you don't get any light inside the body through them. I think this recenters the finder to S16. I would definitely consult someone more expert than myself, but this might be an option. Also, you can try it without any lasting alteration to the camera and see if it works. Good luck.

I love to write in to the seller and ask a question to test their expertise. This can be especially funny if you completely fabricate the feature you are asking about. For example "Is this the 3000FPS Model Canon Scoopic or the 4500FPS Model? Any information would be appreciated". It is always fun to hear back abut sough-after silent Arri IIC, the rare crystal hand-cranked Bolex, or the venerable 3000FPS Scoopic, which can really go through 100' daylight loads.

Has anyone used the Zeiss attachment theat goes on the end of the 10-100 and some of the primes? I would like to hear anyone's experiences.

Good point. I never thought of it that way. I have never been a paper fan. BUT to be fair a lot of the papers are fiber but not wood fiber. I'm not sure what they are composed of, but none seem as soft and effective as microfiber (polyester) or chamois. I am always afraid that the deeper cloth of chamois can hold on to dust etc. better than microfiber. Thanks for the recommendation.

Robert, there is a fairly standardized process for cleaning. First get a fine hair lens cleaning brush with a little air bulb on the back and very gently brush the front element while sqeezing the bulb (or just a fine hair bursh and a can of air duster). This will bursh or blow-away any particulate matter that might scratch the lens coating or glass, then gently wipe the lens with a clean lens cloth (I like chamois or polyester) or paper. This way you will not scratch the glass or coating. In general most ACs I know and work with try to avoid cleaning liquids, as some can damage or weaken the optical coating. I follow their advice in mainatining my own lenses, and it has worked well for me. They use them mainly if something gets on the glass and will not come clean after following the process above. This seems to happen with beer a lot on music video shoots. Never use anything like Glass Plus or Windex... this CAN weaken the coating in places and cause it to come off. Oddly, causing the kind of lens damage you are trying to avoid.

Package consists of beautiful repainted Pan-Arri 2C w/hardfront PL, BNCR, and Panavision mounts. Excellent professional machine work on custom hardfront (Nothing sloppy! This is very strong and secure mount) w/freshly painted Cine 60 flat base, LIKE NEW VS motor from Visual Products 8-48FPS or so (depending on battery) and LIKE NEW 24FPS motor. 2 400' mags in VGC and older mag case (it functions well, but isn't beautiful). Everything stored in new Pelican case. New battery pack custom built into Pelican case. This is a very clean, well-mainatined camera that has been regularly serviced. Everything on it is in great shape (including all the mag. gear etc.) nothing is loose sloppy or worn out. This is not some ebay dog out of someone's attic, but my personal camera. Everything functions as it should. Also, for sale (prefer they stick with the camera, but will seperate for the right price). Set of BNCR Cooke Speed Panchros from Visual Products. These are the nicest set of Speed Panchros I have ever seen. VP has a larger set with the same housings etc for sale on their site... http://visualproducts.com/storeProductDeta...Cat2=18&Cat3=26 My set consist of the 25mm, 50mm, 75mm and also a NEW (not LIKE NEW) rehoused Nikkor 18mm in BNCR... http://visualproducts.com/storeProductDeta...Cat2=15&Cat3=24 All the lenses have been serviced and collimated at Visual Products and they are ready to rock and roll. They still have their Visual Products stock ID stickers. They are are amazing shape... no dust, "cleaning marks" etc... The 75mm has very very very mild yellowing (a problem unique to th 75mm Speed Panchro) it has never been a problem for me, but in the interest of total disclosure I should mention it. Price is very fair and much less than I have in the package... but not the same as some estate sale camera off ebay, so please don't expect it to be that cheap. Please PM with questions.

Clive, Good to hear about these motors. Is the K3 a 1:1 shaft? I've been looking for something to strap onto a K3 for a crash-cam and I'm wondering if these would work? Any plans for another K3 motor?

I have the L-506C Zoom Sekonic... which I think has been replaced by newer model, but I love it. I've never looked back after buying it. My only complaint is light can spill into the spot from the viewfinder side if you are out in bright conditions. A eyecup would be nice. If you get one, watch for spill on the spot meter in very bright light.

Aleksandar, I am happy that you get good results from your D70 as you one and only meter. However, I wouldn't call it a replacement for a professional meter. When I adjust the shutter angle in my camera, or the speed, or want to switch to a mag with a different stock, it is a lot easier to hit a button on a Sekonic than pull out a calculator to make an SLR meter work. I suppose it can be done, but it is a lot quicker to use a pro meter... and time is money on the set. There are sound reasons why you don't see many DPs walking around the set with a SLR taking readings.

I tried this and it works okay, but you will not get anything near the accuracy you will get from a good spot incidental combo. It was okay for getting a reading out in daylight, or shadowed exterior. When you are trying to light subtle indoor stuff or nighttime... using the SLR meter becomes harder.

Did anyone see that Daft Punk video for Robot Rock? That appeared to be shot on some older video cameras. While it wasn't B&W, it looked great. Really unique. The lights left these wonderful trails.

I would search the archive of this forum. Look for the following cameras... K3, Bolex, Arri S, Arri BL, ACL, NPR, and CP 16 and CP16R and Kinor. These are the entry level cameras that have accessories and options enough to used in a professional capacity. There are some others like the Scoopic, R16, etc. but these are pretty limited in their use... but they might be enough. Each camera is very different and has its own advantages and disadvantages, so I would try to evaluate what you need, and make a decision based on those needs. In my opinion, the Eclair cameras offer the best price to performance ratio (especially the NPR). They can also be upgraded at a decent price.

Chris, What kind of package are you interested in? I have a S16 package with all the bells and whistles that I may be selling in December, email me if you would like to hear more about it. Drew

Martin is right. Look around in the archive, I have left some posts about my set. In my experience, I would compare them to the Arri MK1, MK2, MK3 Superspeeds. Perhaps losing a little color and contrast below f2, but not that much. The 8mm in particular is beautiful (sadly it's the one I am missing). The Optars probably lose a little to Elites, S4s and Super 16 Ultra's from Zeiss, but for the price, they are one of the best deals going. They project very well.

Yeah, I'm with Dimitrios. I've seen some really cool stuff from a K3 16mm with no shutter. I'd start there.

JDC has been really great when I have rented from them in the past, I don't know the others, but I recommend JDC highly. Good luck.