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Matt Meyer

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About Matt Meyer

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  1. I received my copy of Fauer's book Monday, as luck would have it. I took a chance and used a bent paper clip to remove the fiber screen. It's fine. I also took apart the viewfinder as far as I could. I can't reach the gunk, which is growing on prisms in the horizontal J-bar. I called Arri in LA, who suggested shipping the whole camera down, and that they'd probably have to replace the prisms (at least). Since I'm on a tight film school budget, I opted to take it to a local camera repair shop. They think they should be able to clean or replace the elements for $150 total, which is probably what I'd pay just to ship the thing to LA. So here's hoping. Tim -- are you still located in Portland?
  2. Thanks for your comments. The eyepiece itself is fine. The orange goo seems to be on the prisms of the J-bar, or possibly on the fiber-optic screen. I think I can access the outside surfaces of the prisms, but don't want to do anything stupid... yet. Two questions: 1) What the heck are Hirschman's forceps? Would I go to the local photography store, or to a surgical supplier?2) The Arri manual also speaks airily of removing the fiber-optic screen, but doesn't really go into any detail on how it's done. Any suggestions, or would it be readily apparent when I get there? Thanks, Matt
  3. I teach at a small film school in Oregon, and as I was preparing gear for the upcoming school year I realized that the viewfinder in our SRII was filthy inside. I fear it's fungus -- orange blotches on the image, much dimmer than our SRI. I've successfully removed the viewfinder from the body and it seems to be within the viewfinder itself -- not the mirror or on-board optics. I'm pretty intrepid, and have actually cleaned fungus from a (very cheap) zoom lens. However, I'm not sure if I should attempt to clean this puppy. Has anyone had experience with this? or can they recommend a shop that would do this kind of work inexpensively? Thanks, Matt
  4. First off, thanks for all the helpful advice on my Quest for Dollies. I've got a line on an old Colortran dolly that uses a CO2 cannister for the boom. However, I can't find any information online about how it recharges -- whether it plugs into the wall, uses a pump lever, or somehow needs to be recharged outside of the dolly (which is what the seller thinks). Anyone have any recollection of how these units work? Thanks much, Matt
  5. I teach in a small film school in Oregon. I'm looking for a studio dolly with a hydraulic boom. While I'd love a Chapman or Fisher, I expect a Moviola or McAlister is more in my price range. However, I've been searching online for a year, and have only seen a couple for sale. Question 1) Anyone have a garage full of old Moviola dollies? Question 2) It seems most student filmmakers are using skateboard dollies. I want to train my students in the "right" way to do things, but maybe that's changed since I was in film school 15 years ago. With cameras getting lighter and lighter, do we still need a big studio dolly? Thanks much, Matt
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