Paul Re Cotsen

Hello All, I'm an infrequent poster on this forum, but I was hoping one of you could help me with this lens. I'm not really sure if this is a Series I or a Series II or something in-between or the year of manufacture . The serial number doesn't match the serial numbers of the Series I lenses, or have I got that wrong for a start. Seems to have a similar serial number to the Double Speeds. The glass seems uncoated. I'd like to know if this covers the 35mm frame or just 16mm. It was part of a set of lenses that were used with an Arriflex 16SB, along with a Series III 18mm, that I think covers the full 35mm frame. Just a few scratches on the paint of the barrel from years of light use. The lens is in really nice condition and is pretty smooth as far as the focus and apperture go. Thanks all. Picture below. Paul Re Cotsen

May I first state that I am not spoiling for a fight with anyone on this site. I think there is a danger that the responses however well intentioned are missing the point. Without being patronising to Katarzyna, she is obviously just starting out in her chosen field. She has been presented with a number of questions using terminology that means very little to anyone outside of the film and television industry. Her tutor is probably hoping the class will utilise the internet to find answers, and that some of it might be absorbed; but it's really more a test of their initiative which is to be encouraged as an important part of the learning process. The answers to these questions or the theory behind the answers are not the most important part of the test they have been set. Miss Dworak deserves a little more understanding. Her first language is possibly not English. I haven't tried it myself, but I would imagine internet translations of technical explanations of some of these questions would be largely unintelligible. Freya's comments are neither helpful nor funny. Paul Cotsen

This is my first real post on Cinematography. I'm hoping there must be someone out there who knows where I can find some information on the ARRI 'Single-Frame-Gear' (I'll just put S-F-G from now on). I've recently purchased a virtually brand-new ARRI single-frame animation unit with the capping IRIS device and cables, and the extra gear sets for different lengths of exposure. I'm hoping someone either has some form of the original literature or experience of using one of these. It works, after a fashion, with a motor inserted into the rear of the S-F-G but only with the main/camera motor running which seems strange. I was expecting the hand release would send power to the motor and in turn drive the single frame part of the set-up on demand. It does actuate and the 'capping-iris' opens and the motor slowly turns three times and exposes a single frame before capping the lens again. I just don't know for certain which motor should be used, and how the power should be turned on and off to the motor. I have read somewhere that it requires a 25fps governed motor, I have a fixed speed 25fps motor and another self-regulated 25fps motor with the extra bit on the side that has a 9 pin input via an Amphenol connection. This motor needs attention as it doesn't run presently. I'm also unsure why this second motor has a cable with a 7 pin Cannon on the female end. Would I be able to use the similar 16BL cable with 4 pin Cannon on it to connect to a battery? Would the pin-out be the same? If anyone has any helpful ideas or suggestions I'd be greateful. Paul

Kurt, If you're still in need of a 9 pin to 4 pin XLR cable I think I have one. I'll ned to get it out and connect it to my BL to make sure it's OK. I've jut looked at my 'spare' stuff for my 16BL; I've bought various bits over the years including a camera similar to yours for spares just in case I ever damaged the spinning mirror on my working BL. My BL is slightly different to yours in so much as it's got the later motor and the fancy-pants Arri APEC system that's supposed to meter the light through the taking path, it might work for all I know, but I've never trusted it. I also bought a Tobin crystal control a few years back so I don't really need the Tuchel as the Tobin has a 4pin connection. I've also got a spare magazine throat cover for when you don't have a mag. in place as well as a load of other small bits. Collapsible cores and adaptors and magazine barneys. I'm pretty certain an old camera outfit I know of had zipped waterproof cover and several padded Optex camera barneys. I can check for you if you give me a bit of time. Unfortunately for you, I'm in London but I expect it wouldn't be too hard to get the cable to you if it helps you out of a hole. Let me know, I'll check the cable out in the next day or two. Paul Re