Cole Paquette

looks to be only a couple millimeters of space. mount too close, scratch the film. mount too far away, the light will bleed into the images and will record a track that is too big, rendering any audio unusable. a nice tricky repair, with a lot to go wrong. thanks for the pictures-I'll avoid that specific camera like the plague then.

okay, so editing would be an...interesting experience. but it must be possible, as I have an old information reel for a sound projector that has multiple different shots with audio. more accurately, it has multiple stitched together shots with static, until i can figure out exactly how to clean the optical sound head on the projector. and replace the cables that fell apart. they seem to be a later mod to the projector. how much is the sound galvanometer worth? and I assume an amp is needed as well? someone has a cinevoice missing the galvanometer, no lenses or cables, but the rest is there. $149 is the current ask price, free shipping. I assume by the 0 bids that it would be a money sink?

Hello, I was looking for some reccomendations for a 16mm camera that records in optical sound. Mostly for basic projection work as well as extremely low budget projects. I know of the auricon by mention of the name only. So, what would be a good camera to use, and what would be a reasonable price for one? Thanks in advance.

S8 film can be digitized at home or on cheap equipment for not very much at all. even a regular document scanner can be used to digitize. then again, some people will prefer to use a film projector. after all, cinemas still use film projectors. a brand new projector for 8mm film costs about $100 (made by Gakken.) people will still want to use S8, and if there is a simple, cheap, user friendly and yet feature-rich option, people will go for it. and the minima? I hear it is pretty uncomfortable to use, with awkwardly placed controls, and with the figure 8 the film needs to make, it is really hard to load right and can be irritating to use. and don't forget it takes special 200' film loads, as opposed to a more common size. iactionfilms is the source for that, but the website is currently down.

1: depends entirely on your definition of dieing 2: super 8 is cheap. it allows people to get into making a movie without the need for very expensive gear. then again, even a canon 1014 can still hit nearly $1K on FleaPray (eBay). but for around $30, I can get a synced sound super 8 camera, working condition. film isn't expensive either. which means someone who might want to make movies can try it out for a reasonable price. and at a comparable cost, you could get an 8mm tape based or VHS or Beta camera, but it won't be anywhere near as good as film 3: as there will always be a devoted following to something, no matter how obsolete it may be considered, making the product makes money. I can still buy a typewriter at staples. I can still buy glass plates for large format cameras. I myself am working on a large format camera design/starting a company to make them. vacuum tubes are still around. 4: expanding on the film ideas, unless we see a lot of multi-sensor digital cameras, they will never be wquite as good. first, screen door, second, color saturation, etc. most importantly is that a bayer pattern sensor needs to make up data where it hasn't recorded any. 5: as film is still relevant, and people can use it as a better and cheaper method comapred to other technologies, it makes a lot of sense to have an open-source designed modular camera that can go from affordable for the person just getting started to affordable, yet does a lot of stuff that professional cameras do (say, for example, changeable frame rate, sync sound, video tap, changeable lenses, etc), meaning you have a good general purpose camera for indie films and such. Sources: http://www.cambridgeincolour.com/tutorials/camera-sensors.htm http://magazine.creativecow.net/article/the-truth-about-2k-4k-the-future-of-pixels

ooohhhhh..... liking that fuji...... don't forget the new panasonic 3D camcorder seems to be around a prosumer level camera. http://www2.panasonic.com/consumer-electronics/shop/Cameras-Camcorders/Camcorders/model.HDC-SDT750K_11002_7000000000000005702 I assume the Fuji monitor that has no need for glasses uses something like parallax barrier technology? (thanks, wikipedia!) PBT only works if you are in the exact right position relative to the monitor. but, hey, affordable 3D.

I've heard about this myself. I myself would also like to know what would need to be learned for 3D cinematography. now, I will hazard a guess. RED company has a camera (SCARLET) where two cameras can be joined to make a 3D camera rig, as well as the 21st century 3D camera. both of those would provide lower-cost alternatives to something like the IMAX Solido or 3D-30. the learning curve, would be less for digital 3D, as well as costs lower. remember, with 2 frames to make 1 3D frame, twice as much film is needed, so digital is much more economical (I'm not going into film vs digital for this.) depending on how the 21st and the RED cameras work, learning stereography may require almost no additional learning-the camera interface would be almost the same, the difference would be dimensions and weight of the rig. http://www.21stcentury3d.com/press/pr-060117-3dvx3.html http://gearpatrol.com/blog/2008/11/13/red-scarlet-digital-stills-and-motion-camera/

which makes it very likely they were made in a former Warsaw country. if that's the case, while the design may be rough, and the parts aesthetically unappealing, they should be quite durable and almlst appear over-engineered, mechanically speaking.

alright, let me add all that I can think of. one:interchangeable backs like the ELMO C300 has. super 8? use one back. 100 foot double 8 daylight spools? use another back. going digital for a project? use the digital back. a zoom lens like the canon 1014 has, powered zoom, as well as fps control and shutter control. a good lightmeter that won't over or underexpose, maybe solar cell based, removing the need for a battery for that. a remote run switch slow motion of around 64 fps fader/dissolve controls built-in rechargeable battery, with a charging plug on the camera. also have it so the camera can be powered via the plug from mains power, saving the battery for when mains power is not available ability to sync sound-maybe even have a cheaper tape-based recorder designed to work with it viewfinder connection to camera can be replaced from an elbow to a tee, allowing a video tap to be connected as well.

the smaller lens says F=13mm No. 825431 -YASHICA- cine YASHINON 1:1.4 the larger lens says F=38mm No. 823595 -YASHICA- cine YASHINON 1:1.4

just recently got a yashica D8mm camera as a gift. a couple questions: there is a slider bar that adjusts the viewfinder zoom. what settings should correspond to the mounted cine-yashica lenses? and two: under that slider is a dial marked with several numbers, including 16, 8, and 64. is this film speed setting dial? the dial absolutely refuses to move. is there a button somewhere that I haven't noticed that I need to push? thanks.

won't the REX5 take an accessory motor as well as the standard crank? that might be the best choice for flexibility in location. I will admit to being a Beaulieu fan myself, but my interests lie in the ability of the beaulieu to shoot sync sound. I think they work best with a Nagra recorder (i believe i got the recorder name right) of the old analog reel-to-reel type. but the beaulieu needs batteries, which may need re-celling, while the bolex can have the motor swapped out for the crank if needed. plus, bolex is still around, selling the EL and the regular reflex H16, along with lenses and other accessories. you could pick up a brand-new bolex H16, the accessory motor, several lenses, the 400' magazine, etc. plus, if anything goes wrong, factory parts and service is available. the Beaulieu, you would need the electric (R16 Automatic) for some accessories, so an R16, 400' magazine, sync-sound unit, and maybe a lens or two could be had off ebay. but, the camera may need work, the batteries, if the camera came with them, will need the holder, charger, cables, and may need re-celling. it's just a matter of choice here. but my extra little information bit is that the Beaulieu looks more comfortable to shoot handheld, compared to the bolex.

well, some of the parts look old enough. it may be an I, the seller doesn't seem to really know which model it is. the battery pack for the dc motor is post WWII-it has the made in the USA sticker on it. the label on the camera says 'made in western Germany' so if i learned anything in history, it's that western Germany was after WWII, so therefore the camera must be as well. all labels in it look to be in German. the model/serial number says: Arnold & Richter Munchen Typ: 60 No: 110/32 looks to be an early serial number of an early model, maybe slightly rare, probably not as rare as the three you mention. I will admit there is the two dots above the u in Munchen, but I don't remember what keys make them. It was the first lens that came to mind. I thought they were of different dimensions after I wrote and posted that. but, seeing as I got an almost instant response of 'cracked pin, possible broken or missing shutter' I decided to not correct it, as something with that much damage that could be near-impossible to repair just isn't worth the time or money.

which craigslist was this? I've yet to see a 16mm camera on craigslist, and all ebay auctions I watched, even damaged cameras in need of repair are hitting $1000 why would someone NOT want a CP16 at that price? That's a great deal. okay, not good for the seller, but a buyer who needs a camera for a budget film-or even a film school wanting a cheap camera, those would be perfect.

Ok, so lemme guess: Arri most likely does NOT stock the claw, nor the mirror/shutter. but, on the other hand, the baseplate AC motor is rather rare, and a good deal. I believe that motor is specially made for using the camera with a blimp. for the price, it might be a good deal, if all I take is the motors, batteries, cables, and maybe the film magazine. the camera body might be salvageable. DOES arri actually stock the parts? if not, I might be able to get the claw machined, I know someone who can mill that part. the shutter/mirror would be hard to get a hold of. but there is always the easy way: ask the seller! i'll do that, hopefully soon. but IMHO, I watched the video, and it sounds like the shutter is there, but the movement is rough. the bearing probably are in dire need of lubrication.