Clive Alex

I managed to to some Diy and add some shims so everything is ok now

I thought this, but the bowl and head have a pin which prevents the bowl from unscrewing from the head. The last time I took an Arri head and bowl apart there was a nut and circlip holding the bowl bolt in place. It looks like a sealed unit, but surley it would come apart for servicing.

I have no idea, I don't want to force anything without knowing the removal procedure.

Hi,

I have two vintage Miller universal fluid heads and I need to change the bowl on one of them, but I can't see any access to removing it. Both lower bolts on their bowls have a hole through them, but other than that I can't see anything else.

Moscowphoto, has anyone used them? Im looking for a 35mm Konvas and these people seem to be the way to go.

My Arri IIa is focusing slightly in front of the subject which I noticed when shooting at f1.5 and f2.3. I've checked the mirrors and ground glass and eveything seems to be sitting correctly so I'm a little lost? It isn't the lenses as they are all focuing at the same point, anyone any ideas?

Anyone in the UK got a Arriflex Hi-Hat for a Arriflex II, I could buy from the States but would prefer to pay by paypal.

I've had a Cine 60 flat base sitting around and after buying an Arri II thought I'd make good use of it. I've never used the Cine 60 base and thought it would be a simple affair of unscrewing the Arri's hand motor grip and attaching the base, but when I removed the motor grip I find two cogs on the Arri's body and only one cog fitting on the Cine 60 base?

Does anyone know how to open a Carl Zeiss 50mm f1.5 sonnar it need a clean and although I've cleaned many a Still camera lens I'm not sure were to start with this one. It's vey similar to Arriflex's standard mount Xenon lenses.

Maybe a captured German military camera 'conscripted' into the US Air force? The single lens release and Zeiss Jena lenses (the original pre-war Zeiss branding) certainly suggest that it's war-era vintage, an Arri 35 rather than a 35II. Could be quite a rare one. Does it also have the resin gate and square matte-box pin? No serial number visible?

The gate is alloy and it has a round matte box pin with a curved one bellow it like a late Arri, but on the other side of the camera is smooth and doesn't have the disc with Arri's logo and model on it, I wonder if the U.S military contracted Arri at some point to make aerial camera's for them.

Forgot to mention it came with Astro-Berlin and Carl Zeiss Jena lenses and it has a single release for all three lenses and it's in perfect working order.

Yes, those are the places where the number should be. It's a nice paint job, but probably not original, because you can't see the number. They weren't stamped very deep, and it's easy to sand or file the number off. Dissolving the paint would be the safe way to go. If you find a light green under the black paint, that was the original finish on the WWII Luftwaffe cameras.

 

 

 

 

-- J.S.

I recently bought an Arri II and it had light green pain under the black pain on the matte box, it was bought from the U.S Air force and on the box said U.S Army U.S Air force aircraft camera. Does anyone know much about these cameras?

Sorry stephen I didn't realize there was a 35mm and Arri post after posting it on 35mm I though I posted the question in the wrong place so re-posted it in the Arri one. Anyhow thanks for answering my question.

I've been given an early Arriflex II 35mm camera, and I know the pull down arm or claw was greatly improved with the IIc, but how good is picture stabilization on the early movement has anyone every shot with one?

I've been given an early Arriflex II 35mm camera, and I know the pull down arm or claw was greatly improved with the IIc, but how good is picture stabilization on the early movement has anyone every shot with one?

I bought a directors viewfinder (Birns & Sawyer Hollywood)to arrange and compose shots before I set up my 35mm camera, mine's the compact type which you may have seen hanging around directors necks on set. They're handy, rather than set up heavy equipment only to find the composition isn't working. The compact one I have has a range of settings like shooting ratio's from 1:2,55 wide to 1,33 normal and lenses from 18mm to 200mm on 35mm film. The Arriflex is a great camera, I sold mine and regretted it, nosy as hell though, but handling was really good.

How about using a slower speed film so you won't be looking through so much ND nor a stopped down lens?

I would, but I've bought a lot of 500T very cheap and it's crying out to be used. Ordinarily I would usually choose a slower film.

I've recently bought some 500T film which I'll be shooting in daylight. I've got no video tap and once I slip a 85ND filter over the lens along with a small f-stop I'm virtually shooting blind while looking through the finder. Apart from pre-focusing the camera and keeping the subject in my focusing zone is there any tricks to doing this?

Thanks guys, I've never used out of date film, but I got a lot of it cheap so I might use it for a short or something. I always buy fresh for anything important.

Thanks Olex.

Oh no, I mean a orange 85 correction filter.

I've been offered some film 2 years out of date, Kodak vision 500T. Will there be a colour shift and can this be corrected with filters, I'll already be using a blue correction filter for outside shooting.

After checking the lens mount, prism and ground glass I found the ground glass to be the problem. I've adjusted the ground glass on both Konvas's and they're fine now.

I decided to get the 17EP-16APK motor and it's working fine along with the 15EPSS motor, I have a nice Konvas kit and I'm going to shoot some test film before my feature in the autumn.

I've a nice collection of prime Lomo lenses, does anyone know if the lomo 35mm f2.8 konvas 2M lens is a Jupiter 12 (Zeiss Biogon) design.