Don Brown

I am sorry to annouce that Roger Sharland passed away on the 12th Jan 2013 after a short illness. http://www.roger-sharland.co.uk/ Regards Don

Hi Johnny The switch you are talking about is the master, O being off, A is on with Auto, + is backlight correction, and the circle with arrow is battery check a red LED lights up I only have manual for Movexoom 10 MoS not the sound version but they are the same apart from the sound side if you send me your email address I will scan a PDF for you Regards Don

Hi Henry I do have a circuit for the CP Arri motor its a photo copy that about 30 year old its a bit faded but you can make out the components. I will dig it out from my files, if you send me a PM I will send as a PDF Regards Don

Hi This was quoted last week check this site http://www.intervalometers.com/pdfs/cp16-t...ical-300dpi.pdf Regards Don

Hi Audrius The T stands for Time and the I is Instantaneous used when doing Single Frame shots the time position is used in poor lighting conditions Regards Don

Hi Rob I had to buy one for my Agfa Movexoom 10 there does not seem to be anyone out there that has free service manuals I used this company here in UK not cheap but good http://www.oldtimercameras.com/stock/type....mp;source_ID=50 Regards Don

Hi Michael London I hate coming into town Steven would never own a Panaflex even with his money you can only rent on Hugh owned his gear from his days in AD's which a lot of commercial companies did whether it was a Arri IIC or a Mitchell S35 if you are working every day knocking out a quick 30 second AD you soon get you investment back, a friend of mine who does all the Peperomi AD's has camera's and motion control gear + studio On features they mainly hire in due to the quantity of equipment and the backup + all hired gear is written off against tax. Sony Umatics I had two 4800's which where one of the early portables which ran on 12v with two 12" monitors the only problem I had recorder wise was taking them from cold Air-con trucks into warm and then you get condensation on the head drum which still happens now. and cables dragging though mud in jungle The apes suits were built by the famous Rick Baker who has done every ape or creature I can think of (American Werewolf Harry and the Hendersons) and Gorilla's in the Mist which I worked with him again Stanley was a hard task master another man that owned is his camera gear which he stored in at home but I hear it got damp damage and I believe Joe Dunton bought it all up and was restoring it The last time I saw him he was shooting Full Metal and he needed lots of loop earpiece's for a scene he was shooting at the old Beckton Gasworks which he had transformed into Veitnam and I took them down to him. The Agfa I will get back to it when I have finished this job in the West End the Director wants to shoot another couple of nights Best wishes Don

Hi Michael Sorry for delay just got back from London in early hours a friend of mine was shooting video of stage show in West End and asked me to do the Sound 2 long days in rip off London £8 a day Con charge and £42 a day in Brewer St car park plus the fuel. Greystoke Hugh was one of the early Directors that started using Video assist coming from commercials, He had all his own camera gear being two 35 BL's one which he had for some time and a PL mount he bought for the film not sure what he had on Chariot's I would have thought BL's as David Watkin was a lover of Arri The video gear I had was 2 Sony portable Umatics which I persuaded Hugh to take as he only had a VHS he used on his Ad's which I did not think would standup to the conditions in the Cameroon's in West Africa, he had video taps on both cameras one with a slow vidicon tube and the other I fitted a low light newicon both B/W as I knew that John did not use a lot of light. I would use the vidicon in bright sun light or as the sun was going down or we where in heavy shaded trees I would change to the newicon and would watch John pack his lightmeters away as he knew there was not much light left for shooting His favorite tool was a couple of of large Maglites with a piece of 1/4 blue which he would use to highlight Chris's eyes we did not use hardly any lighting on Ext the odd reflector the jungle set at Elstree was a different ball game John would also use his trusty Polariod which took the now obsolite roll film B/W which he stored in a cooler box on the Camera truck. About a week into shooting the new BL packed up and Nobby our camera maintenace engineer was packed of to Munich to get it fixed as we carried on with the other BL Super 35 I was up until then used to Panavision but John A and David W where lovers of the Arri system so John decided the we would shoot what was now is Super 35 / Super Techniscope, I learnt a lot from watching John work and was a great shock when he died, he did not suffer fools, you could see he learnt his craft from the great camera men he worked with ie Geoff Unsworth and Stanley who had asked me to do The Shining but turned it down as I new his repution of never going home, lifes is to short ,John and Stanley gone Chris and Andi Chris was lovely dream to work with would asked me to show him bits on to video without Hugh seeing as Hugh did not even allow him to go to rushes. Andi looks as good today as she did then Will post some more later Best Don

Hi Mark There's a great Indian there as well Don

Hi Michael Moved to Lincolnshire 20 years ago to get away from rat race but it seems to have followed me here Boston now has now doubled with oversea's workers Spent 10 years at Sammies in Cricklewood running the Sound maintenance which got me sent to Switzerland to learn how to service Nagra's and then in 75 took over the Video Assist dept which was in it infancy days as only a few Directors used it Went freelance when Hugh Hudson asked me to do Greystoke and have travelled the World doing sound and video assist But have a passion for 8/16mm cameras from CP16 H16 K3's and a host of 8mm Bolex Canon Agfa Best wishes Don

Hi Michael OK on that I never think of German way of business being involved in dirty tactics I will post some bits as I go on, Are you still in Hampstead ? Best wishes Don

Hi Everybody Managed to get inside now I have manual, which helps as there are bits that hold board in place that you do not know without the info Very nice build, top quality circuit board I think better than Nizo the two main IC's are still avaliable via internet stockist The one I am working on is the sound version and have removed the brass flywheel on the capstan which has made the camera a bit lighter The motor cicuit has a tacho feedback so looking at a quartz lock but still want to use the Timelapse and stop frame facility which works fine. Michael I know what you mean when you say that Braun was upset but this happens all the time the Japanese & Russian's have be doing it for years, every Video camera now looks the same. Anyway I have now 4 2 silent models and 2 sound both with 10-1 lenses and a baby Agfa 300 Regards Don

Hi Alessandro Thanks for that, I have another 3 two non-sound and one sound not much use as stock obsolete I have got inside and have found a resistor over heating, it was working when I got it, the chance of finding a engineer here in UK that can work on a 30 year old 8mm camera is very slim I have the Service manual on order which should have a circuit diagram which I will be able to see whats pulling current though that resistor. I am an electronic engineer who has worked on 35/16mm cameras when I was Head of sound maintenace for Samuelson Film Service which at its time was the largest film equipment rental in the World. I want to do some mods on camera so I don't mind its not working, nice board inside seems to use stepper for the auto iris and tacho on motor may be able to xtal lock. Regards Don