Cole Paquette
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Posts posted by Cole Paquette
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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?
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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.
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Well here is a sample of the new Panasonic AF101
Super 8 has an amazing look that is totally unique and can't be matched ect... but as far as an entire feature goes, there is no chance of enough people choosing S8 as opposed to this. No film stock, no processing, no sound sync issues, no $250-$600 rate for 20 minutes of footage transferred, no mailing your footage back and forth for all the services, no week long turn arounds ect... just plug and play. As much as I love S8, I wouldn't want to watch 2 hours of it without a break... you'ld have to really squeeze it into looking like 16mm (which can be done) but still not worth the hasles and costs in comparison to the ease of cameras like this new Panasonic. I'm the first to plug the use of S8 to mix in with slicker looking stuff for a little flavor and texture, but that doesn't require anything my 814XLS can't handle really well.
Speaking of new cameras, in the time someone could R&D and produce a new S8 camera... you'll be able to buy a decent used Aaton A-Minima S16 cam for $2500-
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.
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All very enlightening, gentlemen, but seriously, how can one sell the format to such a degree to warrant the production of a new super 8 camera or even the retrofitting of one that already exists? As I see it, super 8 is one of those formats that's held on to by the avant garde crowd, the few big feature guys that want the signature look for a few shots (like Oliver Stone,seriously, how long will that last?) and the hobbyists who, by their own admission see it as an "addcition". My own interest in it is to shoot test rolls of various stocks to use as a template to manipulate digital HD originated footage to look as close to the signature stock as possible. No, it won't look exactly like E 100 D, Fuji Velvia or Kodachrome, but does the audience care? I admit, I get a little irate when I see "fake" film on TV, especially when the person doing it thinks that the film look means that it has to be jumpy and scratched, but if you really know what you're doing and what you want out of the image, you can get close enough to evoke the same visual mood, and isn't that what it's about anyway?
Film is dying, we know this and we all have an emotional, almost romantic attachment to it that makes us drool over the 4008 ZM2's and sparkly Kodachrome images, but seriously, is anyone willing to fork out the $$$ needed to manufacture a camera that will never sell enough models to even justify the R and D on it? I've read on forums like filmshooting about the starving artist/techs who have deperately tried to slit and cart their own stocks or even darkroom soundstripe emulsions in a desparate attempt to keep the format alive and every time, they give up after almost going bankrupt, disrupting their family life and even harming their marriages by the strain. Somehow I feel attempting to produce a new super 8 camera would yield similar results.
Enjoy the format for what it is now,as long as it lasts, a lovely art form, sort of the water color, pastel or impressionistic version of the moving images and don't worry about reiventing the wheel that's being replaced by anti gravity. There was a time when I said that I would give up my Bolex Rex or Canon 1014 when they pried it from my dead, cold hand, but watching them collect dust because the film stock and processing for a 5 minute short at a 4 to 1 ratio costs more than a mortgage payment on a house, was painful enough for me to consider other options.
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
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ooohhhhh..... liking that fuji......
don't forget the new panasonic 3D camcorder
seems to be around a prosumer level camera.
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.
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I read an article in Moviemaking magazine that with the popularity of 3D, the stereographer gig was becoming the in demand specialist skill to have. Do you folks out there in the field see this? How much training, that is, if you're already an experienced AC,cam op or DP do you need and what's the learning curve like? I'm assuming there are workshops around for this type of thing and I'm sure like everything else in this business, start up costs aren't cheap, espeically considering that you'll need two cameras to start of with.
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/
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You'r OK for spares, then.
They do have the loook of the tractor to them.
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.
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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.
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What lenses did it come with? There should be focal lengths marked on each lens - you set the viewfinder zoom scale to whatever focal length is set as the taking lens. Usually a 13mm is the standard, with 6.5mm as a wide angle and 25mm or 38mm as telephotos.
The dial marked 8, 16...64 would be the fps speed dial. It should move freely from my experience with double-8 cameras. It may well be corroded or frozen up. Try a drop of oil.
They're pretty cute the old standard eights, but if it's running sluggish, has corrosion or the lenses are damaged, don't waste your money on film and processing (if you were planning to try it out). You can pick another one up on ebay for next to nothing.
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
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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.
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I meant.. .GET A BOLEX ELECTRIC AND A WINDSPRING
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.
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No. This is the early eccentric screw pulldown, not the cardioid cam that gave them the dwell claw and allowed them to increase the shutter opening from 120 to 180 degrees. I didn't see the serial number, if it's under 2000, then it's a model I, which was made from 1937 - 44, mostly for the Third Reich's newsreel, "Die Deutsche Wochenschau". No parts are available for those. The first model II was pretty much a copy of the model I, but some dimensions are slightly different, because the tooling for the model I was destroyed in an air raid on July 14, 1944. The door is definitely post-war, because the phrase "Made in Western Germany" on it originated with the occupation and partition.
The flat base motor is the one for the big magnesium blimp. The "telephone dial" inching knob on the blimp pushes a rubber wheel against the top of it.
If you buy the package for the motors, and the body is indeed an historic model I, I'd be interested in buying it. I've already collected three of them.
-- J.S.
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.
The LOMO OST-18 lens mounts may look like Arri standard mounts, but the dimensions are different. They're too big for an Arri.
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.
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I saw a super 16mm CP16R on Craigslist listed for $300 to $200 then down to $100. Still hasn't sold, but the guy has bundled it with another CP16 and is trying to get $300 for BOTH OF THEM.
In may I saw a Eclair NPR full package ready to shoot sit on CL for weeks at $600.
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.
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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.
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ummm... just my 2 cents here.
try cooling down the glass. condensation (steam) should form easier and stay longer.
somewhat like when you are in a car, it's snowing outside, and you turn the heater, and the window fogs up.
if the side without the fog is cooled, then the fog should form easily and stay around.
I find angling a front or rear light gives the best appearance, I feel that front light makes writing too hard to see.
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an old arri camera I am totally unfamiliar with and have never even heard of its existence prior to this. a few broken parts and some minor repairs are required, as well as a lens, but it seems to be KISS simple and runs.
is there anything else the seller missed? Is this a good item? does anyone recognize it, or even better, is anyone familiar with it? and will it work with cheaper lenses? I don't want to drop $15K on a lens when, say, and old lomo lens will work fine (for example.)
I work with silent films, so camera noise and lack of sync sound is not a bother.
Thanks.
affordable sound camera?
in 16mm
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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.