Tim Carroll

Thanks Adrian, Is "resolve" a separate program or part of FCP 7 (not used it before)? And do I assume correctly that the RAW 12bit image is going to be higher res and better for projection than the ProRes image? Best, -Tim

Hi Folks, Been gone for a long time, paying the bills doing photojournalism. Been itching to get back to cinematography for a while, but haven't made the leap. Just discovered the BlackMagic Pocket Cinema Camera today and was pretty blown away, as I was always a huge fan of the Super 16mm format and still have quite a bit of 16mm glass. My question has to do with the camera, the codecs, and Final Cut Pro. I really loved using FCP from version 1.2.5 all the way up to 7.0.3. Didn't get along well with the new FCP as my old system was set up like a typical film editing suite, and the new FCP just screamed Video, Video, Video. Can I use the Pocket Cinema Camera, my 16mm glass, and edit everything in FCP 7, like in the old film days? It seems like folks are using FCP 7 with this camera. Or do you need to be using the latest FCP (whatever it's called). Thanks for any and all input. Best, -Tim

Hi Rich, I've actually never seen a TXM-22A motor. I had to make that shaft as it was missing when I acquired the blimp from Rochester. I had the blimp set up for the two ARRI motors, and it worked fine, and the TXM-22, which also worked fine. Did not realize the TXM-22A has a shaft that doesn't stick out as far as the others. Best, -Tim

"The blimp's shutter advance knob seems just a few mm too short to reach the Tobin's knob, so you may want into fashioning an extension on the rubber knob that reaches toward the motor on the inside of the blimp." Hi Rich, The shutter advance knob is supposed to sit a few millimeters away from the motor when in use. To advance the shutter on the camera, you push in on the "telephone dial" knob on the back of the blimp, which brings the shutter advance knob up into contact with the advance shaft on the Tobin motor, or on the Arri motor. Best, -Tim

I have a brand new CE intervalometer and the ARRI cable I would consider selling. Bought it for a project that fell through. Your SR2 or SR3 has to either have a Cinematography Electronics speed control or a Cinematography Electronics Single Frame modification to use the CE Intervalometer. Best, -Tim

Just like sticking an 80 fps tachometer in a standard Arri 2C, you can also stick a high speed gate in a standard 2C. The pressure plate door on the gate you have pictured does look like a high speed pressure plate door. Best, -Tim

Adrian is spot on, Super 16 is going to be far more useful to you and anyone you someday sell the camera to compared to Ultra 16. Best, -Tim

Having owned quite a few Arriflex cameras over the years, I must say the Arriflex 16M was my least favorite of the bunch. The Arri16S can be set up the most precise of the Arri 16 cameras, with the FFD and ground glass absolutely spot on. The 16SR, SRII and SR3 are next best, followed by the 16BL and then the 16M. Never serviced that new one who's name escapes me at the present. Save up the the 16SR or SRII. A Super 16 version if you can find one. Best, -Tim

Hi Austin, Those are getting really hard to come by. I would recommend using black gaffers tape to cover the port hole when you're not using the 400ft magazine. Best, -Tim

As far as a motor for the Arriflex 16 SB, probably the easiest solution is to try to find a Tobin Crystal Sync motor for it. They are getting harder to find, but that is the easiest solution. The ARRI governor controlled 24 FPS motor can be extremely accurate if adjusted properly. I have used one for sync sound shooting. But you need someone who knows how to adjust the motor, and techs who can do that are few and very far between. The biggest issue with shooting sound sync with the Arriflex 16 SB is the noise the camera will be making. The Arriflex 16 SB can be very loud. Best, -Tim

Did this get sold?

The mechanically governed motors are pretty common. As Zac says, look on eBay. The ones with the transistor are a bit more rare. If properly adjusted, both work about the same. Just make sure to stick to 8 volts or you'll burn the motor out. Best, -Tim

Will, I see this is a few weeks old. If the gate from Dom doesn't work out, I have an SR3 Super 16 gate I would consider selling. It is an actual SR3 Super 16 gate, not a re-machined R16 gate. Best, -Tim

Matthew, I've done something like what you originally described when I used to service 16mm motion picture cameras. After everything was CLA'd and FFD checked, and ground glass checked, I would shoot at 6fps, wide open, a focus chart. About five or six feet of black & white film (the old Kodak Plus X) then process it in a Patterson tank with Rodinal, and scan it with a film scanner or inspect it on a light table with a very powerful loupe. That process works well. Best, -Tim

I did what Isaac mentioned. I used to use a Bescor 12 volt battery belt with my 16SR. Strap on the belt, run the cable up your back and straight into the back of the 16SR, works great and takes some of the load off your shoulder, as the onboard battery weighs quite a bit. Best, -Tim

I think anything would be an improvement over the original viewfinder set up on the IIC. I owned one of those cameras for a little over five years and shot thousands of feet of footage with it, and I never got comfortable with focusing that thing. Drove me nuts. I've heard very good things about the Italian door. Wish you luck with it. Best, -Tim

Though I have never tried it, I believe it cannot. The periscope attachment needs to be attached to the viewfinder tube after you remove the eyepiece. Since you cannot remove the eyepiece on the early flat door camera, there is no way to attach the periscopic attachment. Best, -Tim

I've got a really nice ARRI wide angle eyepiece and an equally nice set of ARRI lightweight rods. Where are you located? Best, -Tim

Not worth it. Search the archives, we had a very detailed discussion on this with pictures and diagrams a number of years ago. Best, -Tim

Hi Robert, Rethinking the idea. The response has been quite underwhelming so far. Heard for a total of three people who were interested, which doesn't make the time put into development pay off. So it's on hold for now. We'll see. Best, -Tim

OH NO, THE DREADED TIM MONSTER!!!!! Got a call from Axel Broda yesterday. Needed a Super 16 Arriflex 16SR gate I had in my shop. Seems he's got another camera to convert. I was surprised, as 16mm filmmaking has really seemed to have dried up. But he said he is seeing a resurgence somewhat. I guess folks are getting tired or bored with the look of digital all the time. I am certainly a fan of the Arriflex 16S, it's a great little camera. But I am no fool, if you have access to a Super 16 sync sound camera package, and an Arriflex 16S package, and you want to shoot a sync sound project, don't pick the Arriflex 16S. 16mm film and processing costs the same whether you shoot Regular 16 or Super 16, so if you have the Super 16 camera and lenses, you'll get more image real estate with Super 16. But if all you have access to is an Arriflex 16S camera, and a good set of lenses, then by all means you can still do great 16:9 work with it, it just takes a bit more care and planning. Best, -Tim

Had an XTR and an LTR over the years, as well as an SR, and for me there was a world of difference in the comfort of either Aaton on my shoulder compared to the Arriflex. Any motion picture camera, when loaded with 400ft, lens(especially a zoom) and a matte box, etc., is going to be heavy and somewhat awkward, not exactly cat-like, but I think Aaton did a great job making their 16mm cameras as hand-holdable as possible. Best, -Tim

Adrian is right, something is off, either the FFD or the ground glass. Take a look at this web page. It is for the Arriflex 16S, but the focusing principle on the 16S and the IIa are the same. Look at the section on FFD. Focus Issues with Arriflex Cameras Best, -Tim

Hi Everyone, I am developing a book on the Arriflex 16S camera and I am asking anyone who is interested to drop me an email to let me know what you would like to see in the book. The book will go into great detail about how the camera works, and I will do a step by step disassembly of the camera and then a rebuild, showing how the cameras were built at the factory. There will be many pictures and descriptions of how each assembly works and how the ARRI craftsmen hand made each individual camera. So if there are things that you'd like to make sure the book covers, please drop me an email. Best, -Tim My Email

Hi Everyone, I am developing a book on the Arriflex 16S camera and I am asking anyone who is interested to drop me an email to let me know what you would like to see in the book. The book will go into great detail about how the camera works, and I will do a step by step disassembly of the camera and then a rebuild, showing how the cameras were built at the factory. There will be many pictures and descriptions of how each assembly works and how the ARRI craftsmen hand made each individual camera. So if there are things that you'd like to make sure the book covers, please drop me an email. Best, -Tim My Email