Simon Wyss

Why not the Arriflex 16, that’s its designation. It offers a 99-percent-light-in-the-finder system, a very fine ground glass, reverse direction shooting, positive location of lenses, and the three-ports turret. You stated documentary filming which can mean many different things. You probably won’t need the defined positioning of a lens for repeated precision. Please note that only the feet-frames counter is accurate, the meter and frames counter brings an error of eight and seven percent, respectively. If noise is no problem, go for it. Else you better think things over or find a blimp. https://www.ebay.com/itm/256462468561

A Bell & Howell Filmo or a Filmosound will satisfy. Short gate, strictly straight pulldown (no rubbing of claw on hole edges), smallish sprocket drums that are gentle also to older film, lenses of up to f/1.6 can be used, tubular lamps up to 1200 Watt give enough light while the machine does not break down when warm thanks the oiling system. An Ampro is also desirable. Younger projectors have asynchronous motors for relatively constant speed. Just avoid plastic in any case. Claw designs afford best steadiness because film can be located the same way as in the camera and, if the case, on the printer. Step printing was always rarer.

There were about 400 models, I have 324 on my list as of today. It must be asked back to the too general question, which features the projector needs to offer. Stationary, portable? Silent, sound? Variable or constant speed(s)? Medium or high light output? Rugged or not so important? Oiling system or not? What diameter of lens receptacle? Maximum reel size? User friendly, service friendly? Price range?

A discovery I made, thereby asking for leave to pick up again this thread: The silently acting claw used with the Eclair 16-mm. cameras NPR and ACL (and Aaton) had its predecessor in the Diksi-Tfp. There is a difference in the motion the claws perform but one aspect is identical, the claw’s face that contacts the film is slanted. The Diksi claw has three prongs and the movement is one around a turning point of the assembly standing still for a moment, turning point below. Hardened, ground steel, the wedged shape makes a varying hole distance, pitch, irrelevant. The Eclair claw is activated by a combination of circular excentric and a straight slide between that and the tip. For those interested in what was a cover-up lie and what not. Where the Diksi-Tfp. design came from I can only assume. The projector is no longer in my possession.

Asbestos is only a problem, if you work it. Let it sit and do its job. Same with the lead paint, you won’t lick it, will you? Everybody histerical today

Suppose you’re having it on a core just to show stock and leader together, yes?

It’s been a pleasure.

It’s a simple thing to tell Kodak that their spools don’t fulfill the standard, ISO 1019. That should bring them back on track.

Pity. That’s what uninformed, uninterested wrestlers leave behind. Decision whether to look for a replacement assembly or to take this to someone who can twist out the ring slowly with an endmill cutter or a fitting screwdriver. Chemical preparation as described is indicated. You have lacquer in the tube thread the whole length.

The GG bushing has an outer thread, it goes deepest into the threaded tube. By threading it forth or back you set at flange focal distance equal. The tube has an inner wall with hole. The prism is held against that wall by pressure from the slotted cap, an intermediary disc, and a rubber piece cut at angle 45 degrees. The circular opening that lets fall light into the prism must be centered on the optical axis. So there is one correct position for the assembly which you should achieve first. Then you adjust the GG bushing and then the lenses to the eye.

The prism is polished. You have this little ground glass in a tube. With a lens of which you know it depicts infinity in focus you can adjust that tube during assembly. If things don’t want to come apart, put everything in a solvent to soften the lacquer. If have found that naphta or a light oil is taken up by the lacquer overnight, over two days. Then you attack with ethanol, acetone, petroleum, benzine.

As you can see on this photo of an older model the critical focuser tube is held down by a buckle (correct expression?) under two screws. It may have been pounded inwards. The axial groove nut or ring in the tube holds down a lens that enlarges the view. Be careful when trying to loosen it, most often lacquered in and made from brass.

I’m out from Eclair.

Wrong understanding Only well made wet splices are allowed, with film cement (solvents to the base). If no splices in exposed stock, better Buy longer rolls and spool down 106 feet portions or use polyester-base stock and black leader that you join with a polyester film splicer. That can be done in darkness.

I want a story told to me, not drilled in.