Aapo Lettinen

I think one could design and 3d print some kind of usable blimp housing for K3. Should knock off most of the movement noise I think. Maybe 3d printed TPU and filling the hollow printed walls with some injected sound-absorbing material to make it better absorbing and more rigid? fiberglass would also be and option like the older blimps were made. But I think 3d printing with filling the hollow printed wall with injected epoxy or something could work pretty well too. printing makes it possible to fine tune the design easily during testing. I will sell my 45-speed CP16R and the ACL with 20-speed motor sometime next year if needing sync sound camera, they are somewhere between 2k and 3k each and both are N16. But your project sounds easily doable with K3 so would try to blimp the K3 first just to see how it behaves then in sync sound scenes, will be really interesting test 🙂

most predatory animals are normally shot by strategically placing carcasses so that they come feeding to the perfect spot where they are wanted for composition. Normal way in wildlife photography. for example dead fish placed in river so that the predator can catch it, or dead mouse placed on ground so that a bird can catch it. For example wanting a shot where owl catches a mouse they place dead mouse on the ground to exact spot where they get perfect shot and then edit the result so that people don't notice the mouse was already dead when the bird catches it. if wanting a bear "to find some food" one can hide salmon pieces on ground to the perfect spot and they start digging there. deer carcasses or reindeer carcass might be needed for the story. again the prey is already dead and just placed to the spot where the predator can be perfectly photographed. these "preys" are already dead, it is pretty uncommon to use live prey which the predator would actually kill by itself as that is almost impossible to arrange ethically. have sometimes seen animal docs use cockroaches or other insects killed live and sometime mouse etc small animals but most people don't want to write that kind of scenes for the exact reason that it is unethical to shoot and pretty horrible to watch

the K3 was not made for professional use originally. By my knowledge it was made for the local and regional "movie clubs" in Soviet Union where the normal-ish people like youngsters could learn basic filmmaking skills. It was designed to shoot 100ft rolls only occasionally to begin with. It has some advantages like the mirror reflex viewing and easy s16 modification and somewhat-easy-ish pl mount possibilities but it is still a kind of "advanced amateur camera" nevertheless. the camera can be modified quite much but one can't really change the bearings stuff and machining quality of some important parts. It is not a Kinor16, never meant to be. I would trust a Kinor for shooting feature film lengths of raw stock any time but with Krasnogorsks I am very unsure as they have so much stuff which was never meant for that. I have worked on professional Soviet cameras like couple of Konvas models, the Kinors and a Soyuz-3 which is a Russian Mitchell-Cinema Products hybrid. Those are meant to shoot tens of thousands, hundreds of thousands of feed with them on TV and movie productions. Not Krasnogorsk, one sees it immediately. That is why I don't think the Russian highly modified Krasnogorsks like the K4 or the one Max is currently working on are making that much of a sense. One can make the camera really 'cool looking' by adding tons of stuff and cheeseplates and bluetooth control and displays and built in video taps and everything... but is is still a low-ish quality entry level in the end. They are still running the same movement, same bearings, same axles, same mirror system. remade gate but similar working than the original one. I think it is like repainting a old rusty car which has semi-broken motor. New paint does not help with the rusted beams and the motor being faulty, it just makes it cooler looking. If it is just a little bit more expensive than basic version then no problem but the Russians asking Arri money for a beefed up Krasnogorsk with those entry level bearings and low quality bakelite gears is just absolutely nuts when one can buy 3 Eclairs with that money. Would recommend Eclair NPR if wanting to have good sync sound camera with reasonable money. Not the easiest camera to service nor the most ergonomic but the price-quality ration is incredibly good if you find a working one for good price. Krasnogorsks are good for shooting low volumes of material and when needing small and handy camera for handheld, music videos, b-roll, flashback scenes, some small silent short films. They can be blimped for sync sound if having a crystal motor but then it would be questionable if a self-blimped camera would be easier to operate after all. The greatest benefit with Krasnogorsks by my opinion is that they are pretty easy to DIY service at home with basic tools. So for diy oriented people they are almost a dream camera as they are still quite affordable and it is economic to shoot with them if one repairs them by oneself. If sending them to pro tech for CLA and repairs then most of the price benefit is lost I think. Some people send the basic K3's to Russia for CLA and modifications spending great money and effort and needing to send via 3rd countries to avoid sanctions, shipping can take months. I just don't see why one would have so much effort and expense for such a basic camera... taking a 300usd camera and spending 2k or 3k on modifications and service. Then if it has issues sending it back to Russia and paying more and spending months waiting it back. Could understand it for Kinors but not for K3's. It is a diy camera by my opinion, or let some of your local friends service it who has opened them once and buy some beers for them for the effort 😅

I think it a different way (partially because I have too many cameras)... I have pretty much always shot N16. usually choosing one step slower stock to compensate the graininess difference. But N16 cameras work right out of the box without expensive and risky conversions and I can save tons of money by not having to convert the camera. This actually allows me shooting MOS stuff on 35mm with Konvas and Cameflex. Otherwise I would be stuck with S16 but this way I can shoot some material on 35mm and the rest on N16 on slow stock like 50D which looks really nice on 16mm. And I can use inexpensive lenses all the way. Availability of S16 cameras is a real issue, has been like 20 years and conversions often have drawbacks like the ACL converted will be more prone to the slight flickering in backlight conditions due to the swinging mirror not fully covering S16 even when the shutter and ground glass work fine with it. Or the endless horror stories about S16 converted Bolexes having this and that issue. The main issue with Krasnogorsk cameras is the bearings and gears I think, they are fine for shooting 100ft rolls now and then but I would never try to shoot a feature film with them, they are just not built for running tens of thousands of feet through and would likely just wear out completely unless one takes them apart every other day for full CLA and swaps parts whenever needed. Personally I think that N16 will be more of a norm in the future and it actually fits "human-centric" storytelling with closeups very nicely. 16mm is the best available format for that kind of use anyway, anything closer than MCU will start to shine with it. It is possible that most of the future stuff will be shot N16 on b/w stock actually if Kodak ever has too many issues with their availability and pricing.

on the latest short film I shot we had a deal that I pay for the raw stock (because I had expired film in fridge available, just used it so no need to order anything) and director paid for the processing and scanning. If there would not be ANY image or it would be unusably soft because of camera issue then I would arrange new stock and developing. No guarantee of grain levels or scratches or perfect matching of different rolls, just a guarantee that there would be some kind of image on film and it would NOT be unusably soft so that some kind of movie could be cut from it. This kind of stuff is a really big deal for people who are unsure if they can afford film shooting and are very scared of the possibility of needing to reshoot because of camera issues and fear they cannot afford to do that so that the movie would never be finished if there is a single issue. Taking some of this perceived risk off is basically what made it possible to shoot on film in the first place. Taking care of the stock costs mattered a little but mainly it was taking care of this "what will we do if the camera ruins all the footage" which made it possible to shoot on 16mm. Another thing is that people want to be involved in film originated productions but if they are not experienced shooting real film then they fear messing up something and unknowingly ruining the movie and maybe even needing to pay for a reshoot. So a first time DoP would be very hesitant to use film "because of the risks" and would automatically want to go for digital just to 'reduce their responsibility on things if something goes wrong'. In those cases it would be very practical if having film-experienced DoP or AC on set who knows the cameras really well and how they should sound like and what kind of settings the takeup friction needs etc. Other words, someone who is really comfortable shooting film so that the others can concentrate on actually making the movie. Scared people can't concentrate on storytelling and they get distracted in any case when constantly worrying about the potential disasters they expect from the film origination. It could actually be a great enabler of more film origination if the old-timers would offer being the AC or DoP on the film shoot so that the youngsters can just concentrate on making the movie and potentially having much better first time experience with film? Often it seems to be just this "I know this camera well and trust it, if it would ruin the footage I will pay for a new film roll and developing" which enables people trying real film for once. When they trust themselves and the process they can shoot more on their own later. I think the main issue is that they fear even trying film because it would be a disaster for them if they fail the first time

Did previously some drafting on how a super simple intermittent movement could work. The claw moving on guide rails supporting it from both sides and the movement of it created by mounting it on the offset pin on the driving wheel. Just a draft to show the idea. Something like this could work fine for a simple camera. Or some similar style simple idea. Would indeed be great if there would be some good resource on different existing camera movements which could be used for reference, if people know links please post them here :)

if wanting to make a completely newly made camera, I would concentrate on the mechanics and use some easy-enough solution for electronics to make it work. This way you can concentrate all resources on the mechanical work and testing which are more critical on this type of project. I would absolutely use some other motor arrangement than the Arri ST has. the 3-revolutions-per-frame system is absolutely horrible to make motors for and has other faults too making it technically complex, annoying and overly expensive. Also the BL has that reduction gear drive system which is not ideal for cameras made in small quantities. You will really want to use 1:1 direct drive on all diy projects. It would be great if you have possibility to cnc machine the most critical parts out of metal. I think the biggest fault with these diy camera projects has usually been them trying to make it fully 3d printable for loving the 3d printing process and thus cheaping on wrong spots having tolerances all over the place. Copying the Arri movements may not be ideal for one-off diy camera, I would design some simple intermittent movement which can be made easily enough with good tolerances to get stable image. Something super simple which still works, more towards Krasnogorsk-style or Bolex-style than the ArriBL . The cheapest way to get it crystal sync would probably be to design it around direct 1:1 drive 42bls01 motor which is used wild for tests, then when the camera is final it is replaced with my 4-speed "camera testing oriented" motor kit which has 6 crystal speeds and works at 14.8v so vlock etc would power it fine. If you want to make your own motor system that would be fine but it takes tons of time and costs lots more than using a readily available solution like this. these are around 500usd with shipping. (empty casing for reference, the controller and control panel are the same than on my Universal 4-speed motor and the motor drive is similar than 42bls01 but has custom dual axle I got made for these. so if using stock 42bls01 for tests this kit could readily replace it for final camera if needed)

I think one of the most serious issues with the film shooting community is the very common lack of commitment towards long term projects. It is difficult to develop expensive replacement parts and new technology if there is only a few people willing to support the project at all and like half of them drop off in the middle of the journey. And community developed open source projects are not possible to make because people want the end result, not work for it. In most cases these projects are entirely dependent on single person "sacrificing a lot for the common good" without any guarantee that anyone would use the result in the end even if it were free. thus most of the developing work is made by people who are kind of obsessed about the task and just want to know if their theory and design works or not, no matter how much money and relationships and healt damage it costs them. New ones also have "this needs to be made as cheaply as possible and it would be unfair if I profit enought to get my own money back so I need to sell these at loss" attitude which usually leads them designing one mediocre accessory which is cheaply 3d printed from cheap materials and they can't afford to make anything after that because they wasted all their own developing money by not wanting the potential users to finance it instead. The other end of the spectrum is people who want others to pay all the costs and all their time is then wasted on marketing instead of actually making the product. It is a financing issue and commitment issue mainly. And about fairness... people would not want to participate by preordering early on for seeing it being risky but at the same time they think it would be unfair if the final product costs them more if they let others make and pay it first and then come 2 years afterwards to buy it when it is tested and proved design. Or more likely "I will buy the next model then for sure!". well there won't be any next model if even the first one is next to impossible to finance because people just want to wait and see. I am here every day looking my s**tty room so full of camera and electronics stuff I can barey jump over the piles to get to the desk to design more, and just thinking about what guitars and other instruments I would want to buy when some day getting rid of the horrible mess caused by the camera motor projects. I think it is pretty typical for people actually making stuff instead of just talking and having great ideas about what others should do. Waiting and seeing leads to missing out one's whole life. There won't be better days for film at this pace, only worse ones if waiting for more. You won't get any momentum if staying still refusing to even start to walk let alone run. No sense to "wait for the better days". Those were like 40 years ago. It is constant downfall towards apocalypse at this pace. Artists are like that orcestra playing on the deck of Titanic when it was sinking... it does not change the inevitable doom in the end but at least the journey is much easier to bear

as a general note, it is usually easier to make replacement motors for cameras where the motor is externally mounted to the side than for cameras where it is built-in. External motors are also usually much cheaper, from half to 1/3 of the price. If wanting to future proof camera purchases it is clever to buy a camera where the motor is external and at least some mechanical parts could be replaced with off-brand or newly made ones. The Arri SR is particularly difficult because it has tiny electronics base and special-ish motor with belt drive, a bit difficult to replace and to fit new electronics and everything needs to be very carefully custom designed. If one could attach some extra axle to the SR to get reasonable motor drive axle to the outside of the camera then could just attach my Universal motor to it without further thought. Makings things too small and handy has its drawbacks and really bite the arris in the leg in this case... As for availability of special belts for stuff like 35BL. I would just make replacement mechanics which replace the special belt drive with one using more common standard belt. It is cheaper than letting the camera collect dust in any case. A 98% working system is better than 0% working so as long as it can be restored to usable condition it will be fine. Collectors can collect empty shells of cameras, no need to reserve the fully working ones for them. Same with CP16 cameras. they have the magazine drive clutch belt which is difficult to get but when thinking about it, that belt is used only for takeup and for mechanical footage counter. If you don't need the footage counter you don't need the belt because you can rig a small electronic motor to run the takeup. Or some other type of belt which runs directly to the takeup and no need to bother the footage counter. One can use electronics counter like my Aaton counter even with the original electronics so the mechanical counter is not mandatory if it is difficult to arrange. ----- I decided to take the risk and try one more time with the Bolex crystal motor project. Either people need them or not, have to test now when having the last chance of designing them as otherwise it would be bugging me for the rest of my life 🙄 If they don't want it then case closed and no reason for them to whine about the unavailability of crystal sync bolexes anymore 😄

I still have possibility to make Bolex crystal motors in 2026 if there is possibility to get enough paid preorders so that I can buy a reference bolex with 1:1 axle as I only have 8:1 older versions. And get enough budget for cnc machining tests, these have more complex mechanics than most of my motors so the tests cost a lot. The plan is to make one crystal motor version with two slightly different mounting systems so that there is versions for both 1:1 and 8:1 bolexes available. Not promising the motor part would be exactly the same, it is possible that I would need to make two entirely different motors but the features would be approx the same on both. Works at 14.8v batteries so mini-vlock batteries etc work fine with these. At least 4 crystal speeds but can be more, will know in Summer about speeds if the project is possible to start now in Spring. These projects always have the financial risk of not getting enough paid orders and I would then need to make the motors with huge losses and the schedule would overshoot a lot. Additionally it is sometimes challenging to estimate the exact price of the motor with these lower cost ones because it is so uncertain how much demand there is and the batch size affects directly the parts costs. So in the case of this particular project there would be a deposit which needs to be paid when placing the order. IF the project would not get made then the deposit would be returned (in full if wire transfer or paypal friends&family, otherwise the paypal costs taken off first and the rest returned). IF the project gets made but you decide to not pay the rest for not needing the motor after all, then the deposit won't be returned but you could use it as partial payment for other products I am offering like the 4-speed motor or Aaton Counter etc. When there is enough orders so that it is certain the project would be made, then the rest of the price is paid. This would be between February and April 2026. I need to start the project in March 2026 so there is couple of months to collect orders now. I can only make one batch of motors in Autumn2026 so this won't be available later. The plan is to make as many Bolex motors as possible in 2026 so that there will be as many crystal sync cameras as possible available for aspiring filmmakers when I stop making motors in 2027. I estimated the Bolex motor would cost between 900 and 1050 usd with shipping. The exact price is known when I have all the orders in and can calculate the exact parts costs. Both the 1:1 version and 8:1 version is available so these should fit all Bolexes. The 1:1 mounts to the mounting points on the camera side and the 8:1 has a mounting bracket which is attached to the bottom of the camera and possibly to one corner too to keep the motor in place. Deposit 250usd when placing the order. The remaining amount and exact final price is calculated when there is enough orders in to start the project. Available for order now. Let me know asap, you can DM here or on Instagram(aaplet14).

Yes it is nice to have other colours for change than just the basic black and dark grey typical on camera accessories 🙂 I am also testing how the different colours look like on the anodizing finish so that can plan better the future accessories I am making. btw made this really basic cheeseplate for Konvas, mounts in place of the strap mount next to the magazine. enough space to mount a mini-vlock plate to power the 4-speed motor and the spacing is such that the plate can be mounted sideways, upright or at 45 degree angle. the test pieces will be cobalt blue to test that colour 🙂

And of course I have a Christmas campaign too! the campaign motors will be assembled in late Spring but I will order the aluminium parts already this year so need the orders before 15th to arrange the parts. At the moment looks like that most of the motors will be Champagne colored and most mounting parts grey but will see after the orders are in what colors will have on these.

I have one standard 4-speed kit available for order with the Krasnogorsk mounting kit and pink 4-speed motor body. the Krasnogorsk kit has a faulty mounting plate which does not have all the threads, there is not 1/4" mounting threads. I will manually tap the M4 threads for motor mounting. If bought now in December the outside-EU price is 680usd with shipping as you are only paying for the motor and axle adapter, the mounting plate is free of charge. Shipping will be in January-February once I assemble the pink motor. There is possibility that I could have another similar kit with faulty plate for 680usd but will see later. This one is at least on sale.

I mean film cameras are mechanical devices. You can always get them working some way no matter what. If one starts nitpicking about the replacement not being exactly the same than what was originally on it 50 years ago then it may be much more difficult or even impossible. It is much easier to design completely new stuff than to try to replicate vintage electronics 1:1 without schematics or original parts available Old soviet camera run with a modified battery drill because original motors cannot be found anywhere

Yes new electronics can be made for SR. I investigated this briefly a while ago when asked about it. The only thing needed is time and reference camera body and enough money up front to start the work. I have not been able to secure those so could not proceed further yet. Same with the Aaton LTR electronics. I can make new electronics for it and I even have aaton ltr here. But my camera is fully working and I absolutely won't rip it apart and ruin the original electronics unless I get money up front so that I can be sure I have budget to finish the new electronics as I can't just put the originals back and expect it to work once it it taken apart. It is about money and time windows. Ticking clock and people being hesitant, having cold feet at wrong time and the time window was lost. For example the LTR and SR electronics take so long to design and test that if the project start goes past June they probably won't be made at all

The sr cameras have pretty sturdy electronics so people want to see how long they can go with the originals and hesitate any newly made option. Thus there is not enough demand to develop new sr electronics because raising the funding is too difficult. On eclairs and cp16 there is lots more demand and thus people are willing to pay for the developing work. Thus we have newly made motors available for those cameras and some spinoff versions which fit lower demand cameras like konvas and krasnogorsk. It is a paradox really. Sturdy stuff is less future proof than slightly unreliable gear. Because people need repairs often for unreliable stuff so there is replacements and newly made options available. On sturdy gear there is one original spare part in the world and once it is gone your camera is bricked. I will likely start making cp-gsmo version of my cp16r electronics in January if everything goes well. I know there is lots of these cameras needing update, in the past one other person discussed with me about update options and they had like 6 of those gsmo cameras in storage. Some scoopics as well. Other people have gsmos too. So would expect the update to restore from 10 to 15 gsmo cameras, some of which would be sold immediately. I am selling some of my own cameras next year as well. At least the cp16r with 45speed update but probably also the eclair acl and some konvases. Thinking of keeping the npr but will sell lots of motors for them, probably around 15 to 20 if everything goes well. The kinor16 I already sold. Then have the photo sonics 1vn which I will restore at some point and sell. There is definitely cameras available, they are just mostly hidden as people kind of save them or collect them instead of listing for sale. If people are more interested in updating the krasnogorsk cameras with 4speed motor then would have dozens more sync cameras available. I could make the 4speed fit Bolex too but the bolex users have not preordered those kits so I don't have the developing budget for the mounting kit and the bolex version is on hold. Hopefully people would order it before Summer so that I could still have time to make it. That bolex version would pretty much explode the sync sound shooting as there is tons of those bolexes easily available and the same motor kit would work with H8 bolexes too

yes cropping to aps-c will enhance the result but it still has rolling shutter. If using the S5, I would likely try to use it with longer exposure rather than shorten the exposure time to blend the movement to hide the effect. if you have possibility to use global shutter camera like Komodo, some older Blackmagic models or some Zcam models which have it then would not have problems. Could shoot separate broll of the most problematic shots with the global shutter camera and shoot the rest with the S5. I think the Zcams and Komodo would be much easier to match to S5 footage than Blackmagics so maybe borrow one of those and shoot couple of hours of footage with that to cover the most problematic scenes.

Personally I see the completely newly made complete cameras more as "cool gadget projects" than really helping redefine the film origination. Especially on the low budget level. Maybe 10 or 15 rental houses would have them total? They would make a small difference but it is just a tiny droplet in the ocean. The key would be to get more of the old cameras restored and working instead. There would be thousands of them, maybe more. That would matter, a lot. Making a cool gadget camera which 10 people use would be cool and empowering but would not really change anything other than some old arri sr retired because it was replaced with the new gadget. Probably the net amount of working cameras did not even change by the new gadget, it just replaced older stuff like video cameras replace the previous year's models

The key to cost effective machining is that you determine for each individual part what the finishing quality and tolerance needs to be and then have multiple different places with various capabilities and reliability to outsource the work. If something needs to be swiss-clock-style-precise with jewelry-like finish then you use the best expensive place and if the soviet-style angle grinder finish is fine then you outsource those to China no questions asked. People don't value artesan cameras nowadays enough to pay premium for them. They want stuff that works and does not fail most of the time so that they get the job done. They don't care if it has a bit rougher surface finish on inside parts which only technicians see. The parts which must be mirror polished will be but other stuff left with basic finish. Some people don't like my designs because I don't make them with ultimate jewelry finish and use years designing. The shade of grey or other finishing color may not be just the perfect coolest trendy one and may change from batch to batch. It is not about 'not caring' , it is about making stuff which works, on a budget, fast. Arri people have never liked my stuff much but Aaton and Eclair and CP16R users etc like them. They are also more open to modifying cameras and accessories to keep them working. The whole Arri culture is a bit like "if it is not original spare part or accessory it cannot be used". Every freakin washer needs to be original Arri one 😂 I get it they are like Ferraris, one simply does not mix heretic parts with them but the end result is just the mentioned death of the technology because the infrastructure is lost. I mean how many Eclair ACL users there would be in 5 or 8 years if they all would be unwilling to change the motor to a off-brand newly made one? I think it is pretty close to zero. Same with cp16r. Some nprs with original motors maybe left. The technology was never meant to last forever, it was designed to be upgraded and changed regularly. People just forgot that after the 90s and thought the 60 years old electronics were supposed to last to eternity. Then buy another used original motor when the technology designed to last 20 years failed them after 50 or 60 years.

I do have this kind of 4-speed motor version too if someone is planning some special camera modification and just wants to have some motor which runs at stable crystal speeds. Basically it is the same components than the Universal 4-speed but it does not have the cnc machined motor body, the motor is separate instead. Will add some kind of protection for the cable. this does work with the mounting parts kits I designed for the Universal 4-speed normal version but needs a plate on the motor side with the same mounting the kits have. I can make a cad model of a suitable plate if people order this version. 500usd with shipping. 6 crystal speeds and works at 14.8v, same specs than the normal 4-speed motor because the electronics and motor drive are the same. empty casing in the reference photo but the control panel is exactly the same than on my other 4-speed versions you saw in photos and videos

I figured out I could make adapter system to use my 4-speed Universal Crystal Motor with the old straight-viewfinder Konvas 1KCP cameras, the ones which had the hand crank and spring drive option with the large round spring motor cavity on the side of the camera. The adapter is a little more complex than on my other 4-speed mounting kits so the price is a little higher, for preorder 900usd with 4-speed motor and later on 980usd if there is still stock available. I need to replicate the big round mounting plate to hold the motor which is why it costs a bit more than other 4-speed mounting kits, much larger aluminium parts which are more expensive to cnc machine. The standard 4-speed crystal motor run the Konvas 1m fine with the 200ft magazines so it would work fine with the older 1KPC which has those smaller magazines too. If I get orders before January could start working on it in Spring2026 and hopefully shipping in April. By my knowledge there has never been original crystal motors available for this older 1960's Konvas model so this would be the first one made. (straight finder 1KCP with the original rheostat motor)

I figured out I could make adapter system to use my 4-speed Universal Crystal Motor with the old straight-viewfinder Konvas 1KCP cameras, the ones which had the hand crank and spring drive option with the large round spring motor cavity on the side of the camera. The adapter is a little more complex than on my other 4-speed mounting kits so the price is a little higher, for preorder 900usd with 4-speed motor and later on 980usd if there is still stock available. I need to replicate the big round mounting plate to hold the motor which is why it costs a bit more than other 4-speed mounting kits, much larger aluminium parts which are more expensive to cnc machine. The standard 4-speed crystal motor rund the Konvas 1m fine with the 200ft magazines so it would work fine with the older 1KPC which has those smaller magazines too. If I get orders before January could start working on it in Spring2026 and hopefully shipping in April. (straight finder 1KCP with the original rheostat motor)

closer look of the Konvas mounting parts. the finished aluminium plate arrived today

Like mentioned, when purchasing the 4-speed motor, even if just the motor without extras, one gets link to the cad files of all of the currently available mounting parts and accessories for the motor. Currently there is 4 camera models and the better inching knob design and the battery plate mounting bracket which is really handy with Kinor. Will add new stuff to the folder when having them finished and tested first. These are customers-only proprietary stuff. I do have some freely available designs like viewfinder adapter and handle etc which are on separate folder, posted the link on the forum earlier. Almost everything is meant to be cnc machined out of aluminium. These just can't handle the stress if 3d printed, plastic does not hold reliably enough. But one can 3d print the mounting parts for evaluation to see how it looks like with the camera build for example before getting it made out of metal.

Longer video with explanation! and showing my 15mm rods baseplate design too! Will shoot a shortfilm on this in January when having all the aluminium plates machined and tested and having the cheeseplate design ready for mounting the battery to the side of the camera