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charles g clark

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Everything posted by charles g clark

  1. Hi all, The eyepiece closing mechanism in the magnetic eyecup on my sr3 was really loose so I took it apart, and reassembled it, much smoother now and does actually lock open. It is however a lot stiffer- does anyone know if the iris leaves are lubricated? Or have I just over tightened to screws? thanks!
  2. Yes. They also had 416’s for the same price, sr3 packages with base plates and matte box for £1.5k and 435’s for £1.5k. Wish I’d bought a 435 as well!
  3. Hard to believe I bought an Arricam lt 3 perf package from a seller who sold them for arri rental gb 7 years ago for £4250
  4. Hi all, just wondering if anyone is sitting on any new rubber sr3 mag covers part 29 in the diagram, I have an sr3 mag that is looking tatty and I wanted to smarten it up! You never know someone might have them sitting around they seem quite perishable . Thanks in advance!
  5. Thanks again Dom I’ve spent the morning looking into other dry film lubricants with ptfe which I believe the emralon is… I think this Lens has driven me to the point where I’m going to 3D print a little turntable an lad have a pop!
  6. Thanks for the continued support Dom! Deep down I believed that would be the case! I read somewhere that’s exactly what arri do with worn threads using emralon 330. Now I do hate to give in, especially with this lens (my wife joked it may be the first time in history a lens has been cited in divorce papers), but I think I’m getting close to accepting it! so my final questions- is emralon repackaged in a handy consumer sized spray can that you know of or is it only in huge buckets (as I fear) and is this even worth attempting myself? thanks again!
  7. Hi all, im back to tinkering with this lens again it’s becoming a bit of an obsession! mounting it on my sr3 I get a little bit of wobble which I think is due to this brass ring not being completely flat. I want to take it out and get it straightened and flat but cannot figure out how to get it out- any ideas? thanks in advance!
  8. The colorist Tom O Poole says on his Instagram post about the show it’s “500t and glorious cross process ektachrome”
  9. Hi, I was looking at the American Arri lighting catalogue (by error, I’m in the uk) and noticed that Arri doesn’t list chimeras anymore for the arrilite plus, but instead lists white translucent umbrellas and a stand adaptor (the Europe catalogue doesn’t have these and still lists chimeras) just wondering if anyone has used these or had experience of umbrellas with tungsten lighting? Do they need to be of a certain spec for heat? They seem like they would be handy in certain scenarios. Any experiences out there? I have chimeras for my 750’s but nothing for my 2000 plus and was interested in adding one to my kit The only places I can find the Arri umbrella is on us websites like adorama etc I’m guessing it’s a manfrotto umbrella that’s been rebadged. thanks in advance
  10. Thanks to Christin at Pille (https://www.used-filmequipment.com/products/list/id/130) I now have the spares - does anyone know if the worm gear needs any lubricant before installing? thanks in advance also if you are looking for spares well worth asking Pille, they do have more than is listed on their website
  11. Thank you Jean - louis I had a feeling the screws that came with it weren’t the right ones. the holes in the brass ring do line up with the focus indicator ring so hopefully if I can find the right screws I can get it working as good as new! Think they’re an M2 screw, not heard of dog points before but a quick google tells me that’s what I need thanks!
  12. Hi Dom, I have it all cleaned and lubed, back together and running smoothly until I screw the focus indicator ring back on- then it adds a huge amount of drag. It doesn’t appear damaged- would that ring also require lubricating? many thanks again
  13. If it makes any difference at all, it’s the same parts that have been in all arri sr cameras, from sr1 through sr3, including hs variants according to the sr parts manual. Even has the same parts numbers anyway thank you for looking
  14. Hi, this is a total stab in the dark hoping there’s a rental house on here somewhere with uncommon arri sr3 parts sitting around - pretty unlikely but I’ll ask before I go to a machinist... Has anyone got parts 25,24 or 23 in the attached SR3 drawing sitting around they won’t use? Arri no longer have any stock. They don’t look the most challenging parts of the camera to manufacture but you never know Thanks in advance
  15. Thank you again Dom, that’s amazing- weeks of internet trawling hasn’t even uncovered that brand! That definitely narrows down my search to a much much smaller area! thanks again!
  16. I’ve heard that’s all the rage in shoreditch currently. Nice push chair! We have an uppa baby vista and we’re about to have our second child so I’ll check with HQ and see if I can add “ability to transport kit” to our needs list !?
  17. Thanks Uli, sorry I didn't see your reply! I'm going to hopefully get my SR3 out to london next week to capture the emptiness so I'll give the labs a call then!
  18. Fast forwarding to almost a year later and having had the benefit of time and an uneconomically repairable lens, (by the time you add a PL mount and fix it, it didn't stack up), I managed to solve the Rubik's cube, put the lens together, remarkably without tearing up any threads, and get it all back, focussed at infinity (as good as my eyes can anyway) and understand the markings and gap measurements enough to rebuild it a few times.... Anyway, does anyone have any helicoid lubricant recommendations? I've tried NYOgel 795a but it seems a bit heavy for my liking (admittedly I might be packing the thread as well) Needless to say the original zeiss lubricant would be ideal, but I believe you actually have to be a professional, trained lens tech in order to buy this (and rightly so, the complexities of even a simple prime like this is way beyond me) but since we are talking a rightly diy project i'd love to know if anyone has any recommendations Thanks in advance!
  19. Look beautiful Uli, I’m inspired to dust off my moviecam- I think I have (possibly) the last 6000 feet of fuji eterna in existence... im curious- what sort of price per foot can you get at Kodak for processing and tk these days? Do they deal with small minimums? Not used film in nearly 10 years..! cheers
  20. Hi, I’m having a play with my sr3- I got this video assist camera on ebay years ago and never used it for anything, mostly because the camera is supposed to plug into an anti flicker unit that also drops the 24v power from the camera to 12v for the Sony ccd. basically the unit is a Sony ccd camera with a specialised interface bolted on the back which connects into the standard 12 pin Sony connector beneath. anyway I am planning on giving it an independent 12v supply and connecting the composite out to the BNC on the back of the unit - I’ve done continuity test with my multimeter to get the pinouts - my question is.... what would I do with the composite ground? I’m going to carry the other grounds back to the battery through the seven pin Fischer - can the composite video ground go with this? Or does it wire into a coax cable? Forgive me video wiring is not my specialty and I’m only having a play around before I inevitably just buy an HD c mount camera to connect to the optics on the elbow thanks in advance
  21. Thank you! I’ve often thought about using china balls but never actually got round to it, I had no idea how the electrics worked - but looking at it it’s definitely something I’m going to want to try in the future- I was pretty nervous with a light and soft box hanging over the table (well within the weight limit of a manfrotto 085b but nonetheless) and would have enjoyed it more with a lighter solution!
  22. Thank you! Yes the big soft box in the sky is a near permanent blessing/curse!
  23. If you can live with a belt hawk woods sell one that takes two v locks and combined them for a 24-28v source for about £280
  24. Ok so in the end I didn’t quite go for the same look, I wanted it a bit warmer and softer and had to lose the idea of the hot spot in the centre. I had an aputure light dome with a Cto’d 120d hanging just slightly upstage of the two parents in the scene and had 2 arri 300w on super clamps on the bookcases blackwrapped to the nines to get a little bit of backlight on the actors. There’s another aputure 120d bounced off of a the white ceiling and really dimmed down to get a bit of fill. I really wanted to get some moonlight behind the blinds but with limited resources, crew and money we had to cover it in black paper and curtains and just shoot! Didn’t quite succeed with cutting the daylight out but we can drop that down in the grade. Black pro mist 1/4. Ive also attached the morning after breakfast scene just because I’m really proud of how it came out! It was an available light shot- every available light I could grab! I wanted hot misty highlights with a hard backlight and I’m stoked with the final image. It was a usual British cloudy day and the actors are backlit by a 2k arri studio just out of shot in the top left about 4 feet behind, a 4x8 silver reflector just to the right of camera with an arri 650 to add some fill. Outside in the garden are 2 aputure 300ds doing their best. Black promist 1/4 again and some haze
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