ian dart

hi nick,

I to would like to see a repair manual but I have never been able to track one down.

I have several c200 and c300 cameras in my collection.

I have overhauled a couple of them and got them working.

the main problem I have found is degradation of the main board,  the traces deteriorate  and fail.

cheers

Ian

managed to find a photo of the rig

hope it helps......

the cover piece I have covers the slot that the magazine goes in.

cheers

great to hear,   yes its a fantastic place to work although I have now retired after fumbling my way through the industry

for 30 years.

in the 90's I had a rather large collection of 16mm cameras which I had to sell much to my regret.

in the recent move I found the pathe bits and am happy to post them to you.     am  happy to cover postage.

not sure if you can see it but my email is on my profile if you want to email me your address.

was that the mick jagger ned Kelly...?

cheers mate 

hi Jonathan,

I had a complete system in my collection several years ago but have since sold it on.

I can't help you with the technical side as it has been a lot of years since I have worked with it.

I do have a drive shaft that runs from the motor to the take-up side of magazine and a light cover for

the camera when the mag is removed.

you are welcome to them if they are any help to you.

cheers

hi Chris,

although it has been 40 years since I was a telecine operator,  from memory some projectors

had a shutter much like an ND filter that operated when the projector was stopped or reversed

to stop the lamp burning a hole through the stopped frame.

not sure if this is your problem but is worth investigating if it is stuck down. 

cheers

Ian

did we learn nothing from Sarah jones' death.

your first priority should be the safety and welfare of your cast and crew,    this is not negotiable.

do the right thing and hire a safety/stunt supervisor

as I stated earlier deferred payment contracts are the biggest load of crap in this industry

in 40 years I have never heard of any crew getting a payment.     producers come up with

all sorts of excuses to not pay.

the more jobs you do for no pay the harder it is to get paid gigs. you do not want to be the guy

everyone goes to because you will work for nothing. (but why do you want to charge me ....you worked for Steve for free....)

just my 2 cents

well for a start they should be considering you an investor as you are supplying thousands of dollars of gear and your

time for their film. I would at least be wanting a free tea shirt....(sarcasm)

after 20+ years as a shooter and gaffer I have never received any deferred payment or preferred booking

for any shoot I have done. (in fact the opposite is usually the case).

I usually tell them I will do the first shoot for pay and when it goes to feature or series I will shoot or light

it for free ( Needless to say I never hear back).

you have to remember it is called.  show business not show charity.

there is no such thing as a cool project if you are supplying gear it is work and you should be treated

with the respect that deserves.

cheers

.

hi ben

here is a film I lit that is set around a dinner table

www.socialshorts.com.au:comedy.webloc

scroll down to "serving joy "

it may be of interest

cheers mate

well not doing 23 takes of every shot would be a good start to not burn time during the shoot day

cheers

hi lee

here is a pic of a setup i did for a cooking show it was the only way to get some back edge and stay

out of frame

it is held up with command strips which can be removed without damaging the wall

cheers

christ i havent seen someone in such need of a blowjob in years

some producers would would have you work 20 hours a day and feed you cold shoulder and tongue pie for lunch if you are lucky.

it is up to yourself to set your working conditions and enforce them.

i myself have a strict lights out at 12 hours condition which is not negotiable. this is known by all before i am booked.

book me or dont book me those are my conditions take it or leave it.

cheers

i am not a union member. in australia the producers act like civilized human beings so we dont need them, unlike your part of the world apparently.

ps. i am an australian and a gaffer so it should not take much imagination to see i dont really give a rats arse what you think.

my runs are on the board.

cheers

producers with attitudes like yours Richard is one of the reasons crew resorts to agents and unions.

cheers.

i have had a few globes let go over the years, mostly in open faced lights, they just disintegrate and leave a bit of the base

and two pins in the lamp

i have never discovered the reason.

i had a 150 dedo globe explode on set during a take and that certainly woke everybody up

it cracked the mirror and scratched the focusing lens, i had it checked out but no one could

come up with an explanation.

my advice would be always have a safety screen on open faced lights.

cheers

i am not sure how the battery grip attaches to the camera but i would do a check to ensure the join

can handle the stress and forces the camera is subjected to.

the grip is being held on the car mount by a 1/4 inch screw but what is holding the grip to the camera.

if it is just a plastic retraining clip i would not use it.

cheers

hi rod,

i used a magic arm to attach to the hot shoe mount on the camera to stop the vibrations on the camera.

the tripod is a manfrotto hi hat attached to 3 aluminium glass handling suction cups that have been tapped

with 3/8 threaded bolts to mate with the 3/8 holes on the hi hat.

this mount is as steady as a rock. we tried to rip it off and the bonnet will come off before the suction gives away.

i would definitely use some form of safety strapping to keep it on for everyones safety.

cheers

you probably need to lock down the top of the camera to reduce the vibrations

i would be putting safety straps on it to stop that very expensive sound if it all goes wrong,

cheers

the cost is typicaly just a couple of dollars per item but on set i offer it as a part of my gaffer services and dont charge. depending on time available.

many a lunch break i have spent testing.

rewiring i do in the luxury of my workshop and charge a nominal fee to cover parts. but should cost about 50 dollars depending on parts

the wiring inside hot lights is under great stress from heat and movement (flood/spot) and tends to be the first to suffer.

although the NAME BRAND lights spend a lot of time and effort on their attempts to make it durable and safe.

most electricians as a rule wont do repairs as it is not cost effective. so you need to hunt down a friendly gaffer (if you can find one.........)

after the recent death from a cheap/faulty phone charger i seem to spend a lot of time testing them. this i usually do gratis.

cheers mate

the bigger question than whether you can afford to get your gear tested is that there are more and more studios and locations

that will not allow electrical equipment on their property that has not been tested and tagged.

i have been on several shoots for instance where make up's hair dryer was not allowed to be used until it was tagged.

cheers

hi gregg,

i am in melbourne australia just across the ditch....

i test to the australian standard AS/NZS 3760:2010 "IN SERVICE SAFETY INSPECTION AND TESTING OF ELECTRICAL EQUIPMENT STANDARD"

from memory this standard also applies for new zealand.

this applies to all electrical equipment that can be plugged into a mains power outlet with a voltage above 48v. including RCD'S (SAFETY SWITCH).

what i meant in the above post is that most fails during testing are for visual faults before i even put them on the machine.

cheers

hi matthew,

buy some RESIDUAL CURRENT DEVICES (RCD) (SAFETY SWITCHES) and run your

lights on their own safety switch on set.

you can do several basic tests yourself with a multimeter and there are tutorials on youtube for this.

most of the items i test fail the visual inspection so check all your

gear for visual damage, loose connections etc and do not use if damaged.

cheers

i have used the light on a couple of jobs so far and am more than impressed

nice and light with good beam spread

no need to carry around a lens box helps and standard wires fit it

it meets all aussie electrical specs and had no problems passing a test and tag

some more pics here

http://www.andrewlocklighting.com.au/pdfs/new%20to%20rentals.pdf

cheers

hey mark

i use two of these and am very impressed with them

drop over one day and i will fire it up for you

cheers