Simon Wyss

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The camera has got a locking mechanism on the spring barrel, as you know now, a sun and a planet gear. By it a section of the spring’s torque range is available. Basically, the spiral spring can be wound together until it’s almost entirely rolled onto the core and unwound until it rests in the barrel. Depending on the state of the actual spring the gears should be so engaged that the moving section provides the most uniform runs. A run is never perfectly even. You have more torque at the beginning, less towards the end. As I have always understood the concept speed is adjusted to an average over the run. A stroboscope is a nice thing to have, yet, I find it enough to ensure that, say, the length of 528 pitches is transported within 33 seconds. The adjustment will therefore be a little higher than by your method, thus just freeing the governor for the lowest speed. The adjustment is made with film loaded. Amateur movie making was never with synch sound until the advent of cameras having an electric motor. That was at the end of the 1950s, early 60s. Pocket or handbag cameras were meant for mummies to take pictures of their children. No one cared about whether the images moved a little slower at the beginning of a scene and a little faster after 20 or 25 seconds in projection. We can’t call professional dibs on these mechanisms. As you will understand with some thought runs can be best for one speed only. The technician needs to know at what frame rate a spring-drive camera will be used predominantly.

Basically, it shouldn’t be possible to put on the lid and lock it, if the pressure plate arm wasn’t seated properly. But people accomplish the weirdest things. Maybe the lateral film guide frame is bent. Or the pressure plate assembly damaged.

They were common until the early fifties. Hollywood began to record sound onto magnetic stock in 1948. To find a triple optical track reader today would be a miracle. Archives may have one somewhere. Optical sound reproducers are still part of projectors and of editing equipment.

I have worked on processing machines, Photomec, ARRI, Debrie. What could have happened, you will perhaps not want to believe it, is that something like staple pliers or a pair of scissors were laid down in an unfortunate manner. These are often deposited in the join box (Photomec term) of the machine. The mag is put on, secured, the head of the exposed film and the foot of the running roll clipped together. Then the film is laced around rollers, pulled back taught via the mag spindle, cabinet closed, and the brake released. Image from Cine Lab’s website Here a view of a Photomec coupling cabinet, image from maintenance guide showing vacuum cleaning: Speculation. Maybe a different machine since it’s black-and-white stock. Allen? Do they use tape?

The metric threads system does not know anything coarse. You have regular and fine threads. No coarse metric threads

I know. What I also know are dangers in film labs. If we assume the stock was not rewound prior to exposure nor after, our focus shifts towards the lab. As a lab worker I’d take care to prevent two things, 1) lateral slippage of parts of a roll and 2) longitudinal slippage or cinching. Depending on the processor magazine size exposed portions are assembled into rolls of up to 2000 feet. I find that already dangerous, let alone the subject of the use of staples or tape. These are cut marks from a sharp object the film has hit. By the angle they sit under we can say either the object stood up angled or the film loop ran twisted. Ross, do you say the roll is scratched through its entire length?

One inherent difficulty with cameras that use magazines that contain the sprocket rollers are possible slips. The loops are not stable in a manner of speaking, you can and in most cases will have a smaller lower and a larger upper loop. The transport claw rubs on a land between two perforation holes until the film falls over it, pressure from the back provided. ARRI advises to inch the mechanism in standby mode (we used to say turn slowly in older times) after attachment of a magazine to exactly achieve this. According to the instructions that would be at one frame per second as long as you hold the PHASE button pressed. So the investigation would have to be into the loop rooms about which I know nothing, I must admit. As a camera designer I’d line those with velvet. If it’s jump scratches, you’d almost certainly find sharp edges there, perhaps burrs from manufacturing. Cinch marks from trapped particles look a bit different, they generally don’t have that lanceolat form.

Looks more like jump marks to me caused by the film intermittently touching something. Jump marks are (were) well known among projectionists who dealt with disrespected loop switches. Philips-Kinoton were the most prominent Sprungschrammen makers. Since the Arriflex SR cameras use coaxial magazines through which the film runs in twist loops I have a premonition of that direction.

Metal parts are pieces of cake. More problematic are glass elements such as the compound lenses of the viewfinder.

Yeah, I see that the same way. My hope lies on many individuals who take their own personal approach to filmmaking. There are some around who take a camera and a few rolls of film with them. At least they don’t produce vertical videos.

https://www.centerforhomemovies.org/documents/cameramarkings/ Greetings

Just a word on the metric threads system You have the regular and you have fine threads. https://www.gewinde-normen.de/iso-regelgewinde.html

Another gross blah from me. Fomapan R must be reverse processed or you will have a black film. The antihalo undercoat needs to be bleached and cleared out the film, steps not happening when you simply develop to a negative. Same goes for Agfa Scala and any old true reversal stock. What’s true is that you can reverse every negative film. With rather varying results

Wrong. No variable shutter but a movable cache sheet right behind the lens port(s). The shutter opening angle is 156 degrees.

Thinking it over again I conclude it’s not the claw. I’d search around the mirror arm, mirror edges, and thereabouts.

No, but you have to make sure the ink stays on by degreasing the metal.

Claw should be blackened or at least darkened. I know it’s steel, so not a small job. Try to shield the space in front of the aperture with a piece of black felt or paper.

Expensive. The elements would need to be separated, coating removed, then coated freshly. I know two or three firms that can coat in this country. One would have to find out whether the same compound could be applied, else you’d no longer have the original CZJ lens but modernized ones.

Nobody has asked you to promote Double Eight. We Europeans often misunderstand the American lifestyle or misinterprete something about it. Talking about possibilities is one big freedom that lives in the U. S. and if someone asks questions, it doesn’t mean the money to pay for and the will to take it are there. A lot of wannabedom but not mean I have published an article about the Leicina 8 S in German. There was no reaction as to that the market would have dried out of Leicinae, maybe prices rose a little. I think a Leicina with a crystal controlled motor is a product for the knowing, not for people talking of music or skateboard videos. Kodak fell into the trap of youngsters on skates or bicycles with an ugly designed plastic body Super-8 camera that will never come. So far we haven’t seen a film from the camera that makes intensive use of the new synch sound feature. I mean, after Ektasound wasn’t a big breakthrough when Super-8 was en vogue. The Leicina 8 S does not have any focusing screen, the image is aerial. Perhaps the addition of a ground glass should also be studied.

Arnold & Richter gave wrong numbers concerning shutter angle. The Arriflex 16 St has two 85 degrees openings, so 170 degrees per frame. It’s even a little less due to the angled position. Nobody knows why they did that.

200 feet. https://www.pacificrimcamera.com/rl/01725/01725.pdf

The Pathé WEBO M is a horrible construction, at least for the one who attempts to service it. Arriflex DS-8 unobtainable Meopta are service friendly, cheaply available, can be upped in optics, D-trajectory claw leaves film in same position as projector. Lateral film guidance ought to be improved, a technician should be able to do that. Large finder view. An article in German language on the Admira 8 G is downloadable from my website. The little Avrora deserves a little more attention. You have only little horizontal parallax between finder and lens. What I dislike about the Canon is the arrangement of the spools at the bottom.

It was the engineer F. W. Planert who converted Pentaflex to DS-8 from around 1970 on. https://zeissikonveb.de/start/kameras/pentaflex-8.html. I have no idea how many of these exist.

Just found a site with more information about the DS-8 Arriflex. https://mimundoensuper-8.blogspot.com/2020/08/arriflex-ds8-holy-grail-of-manfred-jahn.html