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Lars Eric Pettersson

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About Lars Eric Pettersson

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    Cinematographer
  1. Toni -what was I thinking? :-0 Pardon me Giorgio, I don't know where I got the other name from. Best wishes Lars
  2. Hi Toni I realise this was five years ago. Contact me if this is still of interest to you. Best Wishes Lars
  3. Hi again I realise I was a bit quick on the trigger there, I should clarify that I have the carrying handle. Best Wishes Lars
  4. Hi Jay :-) Just wanted to chime in on what others have said: hold on to your CP16 if it's functioning and you have the space to keep it. I myself have a CP16 in beautiful condition that I'd never want to part with. Best wishes Lars
  5. Hi Jay :-) Please e-mail me privately if you're interested in standard-16 zooms with ARRI bayonet mount, I have Zeiss and Angenieux brands. Best Wishes Lars
  6. Hi Dan :-) Please e-mail me privately. I have what you want. That's a venerable address you have, I'm sure you're aware NJ is the birthplace of American cinema. :-) Best Wishes Lars
  7. Hi Brendan :-) Please e-mail me privately. I have what you want. Not for free though. Best Wishes Lars
  8. Hi Jane, I just wanted to assure you that I´ve been using a CP16R with the bowtie shutter for several years now and have yet to come across the dreaded smearing effect. I guess one thing to do would be to shoot all sorts of subjects with tricky highlights and see if you can 'provoke' the smearing to happen, then you´d know under what circumstances to watch out for it. Dom, can you shed some light (no pun intended) as to under what conditions the bowtie shutter would smear highlights? Best Wishes Lars
  9. Hello everyone, The original ARRI 16BL Tuchel-XLR powercable is 9-pin in the Tuchel end and 5-pin in the battery end. Original Jensen crystal controllers have the Tuchel connector, but they were often changed to 5-pin XLRs since the Tuchel is so delicate. By the way, over here the 9-pin connector was called AMPHENOL I recall. The last version of the 16BL had the flat motor and used a 4-pin XLR, same as the 16SR. If you connect the camera we see in your photograph directly to a 12v lead acid battery via an original 9-pin Tuchel to 5-pin XLR it will NOT run at synch speed, most likely it will run at something like 30 fps. That´s my experience at least, the motor will simply run at the RPM that corresponds to that voltage, be it 11,9 volts or 12,7 or anything inbetween. There´s simply nothing fine-tuning he voltage here, it just goes to the motor. The motor will run stable though, so exposure unevenness is not an issue (again my experience). Several variations of these circular BL motors were manufactured, not all could even be crystal controlled. I've come across one that could be reversed, how cool is that: you can shoot scenes in reverse in-camera and also do double exposures in-camera the way they´d do it in the early 1900s. I agree with Douglas; try ARRI NY. If you can aquire the right Tuchel-XLR cable you will find out immediately if the broken pin is critical or superfluous, also if the camera will run at 24 fps or about 30 fps. If you can get it to run at a reasonable wild speed with this cable, I would personally go ahead and shoot (you were only going to shoot one scene as a test, right?) I mean, this is the way people shoot super 8 all the time, all speeds are wild on super 8 cameras. BTW guys, the original BL manual is available right here on the Forum :) : http://www.cinematography.com/index.php?showtopic=59519 Best wishes Lars
  10. In the 1960s and 70s news gathering would be done with single system 16mm cameras using magnetically pre-striped stock and recording sound directly on the stripe. Then you could connect a microphone to (for instance) a CP16 equipped with single system recording capacity. Today I don´t see how connecting a microphone directly to a CP16 could be made to work. You´re much better off attaching your ZOOM H4N to the carrying handle of the CP16 the way microphones and lights would be attached back then. This is assuming you want the 'one man band' style of shooting. Qualified sound engineers doing nothing but recording sound on the shoot will of course yield the best sound bar none. I have a CP16R with the 156 degree bowtie shutter and have yet to see it cause smearing. The camera is capable of producing beautiful images, it´s quiet, takes 400 foot loads and image steadiness is on a par with the ARRI 16BL or SR1. An added nostalgia bonus is that the threading inside the camera body is somewhat reminiscent of a miniature Panavision GII :) Drawbacks of the CP16 is that it´s somewhat bulky and changing magazines is not exactly a split-second affair, though with practice it can be done reasonably quickly. If you want to run and gun with a CP16, bring it already laced up to your location (though of course with the lens removed to protect the camera during transportation). Best Wishes Lars
  11. Hello, Yes the blimped Zeiss 10-100 T3,3s for ARRI 16BL can be removed from the blimp and used on ARRI SR 1 and 2s with bayonet mount. Beware though that you´ll never get it back into the blimp, so think twice before you do it! Removing the blimp isn´t that difficult, it´s screwed on from the outside using 'screwheads' that have two holes in them, much like the back of a wristwatch. Using the correct tool is of course ideal, but if this is to be done only once, putting the prongs of a pair of fine pliers in the holes and turning counterclockwise will do it. If memory serves there are 4 of these. They are rubber shock-mounts on the inside of the blimp, holding the zoom. The blimp is one of he reasons why the 16BL is so wonderfully bulletproof :) I,ve seen them take falls no Aaton XTR would ever survive... I assume you have only a blimped Zeiss zoom and an ARRI SR body and want to combine them? Because if you have a well maintained BL, don´t expect this procedure to result in much improved image quality regarding what ends up on your negative; it´s the same lens and image steadiness is about the same on both these cameras. A well maintained BL is about as 'quiet' (noisy) as an SR1, but of course this requires a clear glass in front of the lens and that can sometimes knock the image quality very slightly. Great work has been accomplished with the BLs, a couple of Bergman-productions for instance. The SR is less bulky of course, and has the orientable viewfinder. Hope this helps :) Lars
  12. Hello everyone, I´m new here but have been reading the Forum posts for quite some time and now felt compelled to chime in. In Sweden there´s STOPP, a Postproduction house with their own in-house ECN2 processing and 2 or 4K scanning. They do beautiful work and the lab is run by industry veteran Ali Boriri. http://www.stopp.se/ I believe this is pretty much what´s left as far as commercial film labs go in scandinavia. :-( About twenty years ago there were three labs still up and running in Stockholm alone. One folded and the two remaining got official permission to merge (since this meant virtual monopoly). About two years ago, this last big lab was shut down. Up until the very last day of operation they produced beautiful 35mm prints for the cinemas here. Happily, during the shutting down process, the Swedish Film Institute were wise enough to provide a new home for a handful of staff members and some machinery, who are now able to do preservation work with these machines. So technically there are two film labs here, but only one open for commercial customers. Best Wishes Lars
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