Evan Walsh

I'm looking for a pan handle for an O'Connor 100, the golf club looking one with the spline / knurling. PM me or Email Directly (Evmwalsh@gmail.com) if you have one to sell. Thanks!

Mycasebuilder is in Paterson NJ, not far outside the city.

For all intents and purposes the 3C is the lovechild of a 2C and 35-III, it really all comes down to the accessories you will have with the camera in terms of ergonomics. Flatbase adaptors or the Crystal motor bases (CE / Tobin) might be unwieldy for handheld but much better at "studio" or tripod operation. The kind of door that is on the camera also makes a big difference and there are several for the 3C so without knowing what you have it really comes down to the specific package you're receiving. Handheld on a pistol motor isn't bad but you'll probably be sore at the end of the day depending on the viewing system on the 3C. The Jurgens door will let you nestle the camera closer to your body, the Arri articulating viewfinder door will probably feel odd to shoot handheld at eye level. The non articulating viewfinders will be best at eye level but your arms will be bearing most of the weight and low angle shots will be a pain. Be prepared to start and stop the camera yourself, contemporary FIZ systems cannot start / stop the older motor bases / 3C pistol motor unless they have rigged up some proprietary method. In the event you're having to pull your own focus you may want to tape the iris ring when set, you don't want to inadvertently grab the iris ring mid take.

The camera would need to be adjusted to account for the glass in the optical path and you would need to install a clear filter when the diffusion was not in use or else the focus of your lenses will be affected. I worked on a show that did rear diffusion, depending on the scenario or how often you'd expect to change diffusion it can be a little bit of a pain since you have to pull the lens to make changes and take care to not introduce dust/debris. We would run one diffusion during the day and another at night generally of the same strengths so changes were not very often. The benefit / reason we did rear diffusion was to remove the unwanted filter flares / reflections that can occur with front filtration.

Don't do that

Bump

Title says it all, looking to buy a motor for an Arri 2c/2b with the transfer gear. Would prefer the variable motor but open other options, DM if you're looking to unload one. Thanks!

messaged

Hi Steve, I got it half working before I got sidetracked by work and completely forgot about it. The concept is simple, a relay that is activated when a flip flop circuit receives the momentary pulse from a FIZ unit that uses Arri style single pulse to start/stop cameras. Sometimes it would work perfect, sometimes not at all, sometimes it would trigger the relay as I was inserting the the connector from the FIZ unit, that's about as far as I got haha. I'm sure someone more well versed in electronics could solve this far easier than me tinkering on nights and weekends.

Ah I figured that was likely the case, thanks Dom!

Hoping one of the camera technicians on the forum can chime in on this because my googling hasn't brought me any answers. I'm familiar with checking and adjusting flange depth on film cameras with spinning mirrors via a depth gauge kit. I'm trying to understand what the procedure would be for checking flange depth in a camera system that uses a pellicle / beam splitter for their reflex design, like a Bolex or certain Mitchell reflex cameras. Situations where a depth gauge would not be able to go directly from mount to film plane. Thanks!

If you happen to have a full aperture scan of your most recent footage, take a look at the relationship of the perfs to the frame and or the frames to each other. If it looks like the space in between frames is varying or if the relationship between the location of the perf and the frame is varying then the registration is off. If the perfs and frames are both moving but their relationship is constant, it's the scanner. If time and money allow shoot a proper double exposed reg test.

Something to consider, the Abakus (1.32x) and HDx1.4 (1.4x) adaptors would make the 3.9mm effectively a 5-5.5mm T2.8-ish + any softness or CA an optical adaptor may introduce. If you're only after an ultra wide lens for s16 you may have an easier time hunting down the Optex 4mm T1.8, Optex 5.5 T1.8 or Century 6mm T1.9 w/ the front 4.5mm adaptor.

It does, a few were just auctioned off a few weeks ago from VER/PRG https://www.soldtiger.com/m/lot-details/index/catalog/430/lot/59467/Zeiss DigiPrime 3.9mm T1.9 Cine Lens?url=%2Fm%2Fview-auctions%2Fcatalog%2Fid%2F430%3Fpage%3D8

Have you tried paging through the mode while it is connected? There should be a display for SU which is for when the external speed control is connected. If you hit the phase or run button on the RCU does the camera respond? When set to CAM mode the RCU should just act as a normal external display. In RCU mode it will override any changes made on the body itself.

The camera needs to be set to the PS/CCU mode, the small switch under the display.

I've never seen them for sale before but I have come across them in a few differently styles before, I'm assuming these were custom deals from the rental house. Double stick / snot tape it around the edges of a normal filter tray if you cant find a net frame and want to be able to on / off it. Depending on your focal length you're still going to have to stretch it over the rear if you're going wide, front netting will be visible on the wide end.

When you say mag port cover, do you mean the magnetic gate cover or the rubber magazine loop protector / throat cap?

Depending on the length of the rental its probably cheaper to pick one up off eBay/craigslist rather than renting but Du-All camera in NJ rents MiniDV, VHS and Hi-8 cameras. http://www.duallcamera.com/catalog/index.shtml

Ah that's over my head but this sounds like something you might be able to create in an excel or google sheet through the math functions. You might need a spreadsheet pro to cook that up for you but I have seen some pretty comprehensive spreadsheets that help automate things like timecards/billing and data collection.

I don't know any apps that do the adding/subtracting bit but if you just need to figure out run times and lengths check out the free Kodak Cinema Tools app. pCam Pro (IOS only I believe) also has this function in addition to dozens of other useful tools, I believe its $30.00

I saw Heden has released an updated version of the M26VE Motor which claims a higher speed. Has anyone used one of these with a Preston system yet? Trying to gauge its speed/torque in comparison to a DM1x but I haven't seen this new motor in the wild yet.

one or the other,

You're right the Pocket 6k is cheaper and no one is forcing you to like the Komodo, if you like the pocket 6k that's great. You can run the Komodo right out of the box with just a battery and lens similar to the Pocket 6k if that is all you need it for,and yes it can record for more than hour without overheating but I'm not here to sell you one. All in a Komodo with Wooden Camera cage, B-box, A-box, PL mount and some media will run you around 11k +/-. Once you're there you can now use it with all the commonly found AKS and make use of industry standard I/O. No HDMI-SDI conversion needed, No mini to full size XLR cables needed, no audio track timecode work around, no LANC cable for run/stop and if you're in the situation that calls for it you can genlock the camera. The cost increase is from the professional options it gives you, if you don't need those options then you don't need those accessories. I've never been a great fan of the Red ecosystem or look for that matter and I agree that the "Arri Look" is something most people strive for. However, the utility of this camera is pretty undeniable. Much like the Alexa Mini, this was not meant as a replacement for the A camera and requires work arounds and concessions to make it one but it definitely has the ability to fill that roll most of the time. Silly as it sounds, if you're the shooter/editor one man band type who might need to sell the client on the gear that they have, saying "I have a Red" may save you the effort of trying to convince them something else is good enough because it lacks the brand recognition.

At face value it may seem like typical Red price inflation but I do think the cost is justified having used both. Global shutter, ease of changing mounts, aftermarket options for internal ND's, wireless control and monitoring, metal construction, better power options, mounting points on the camera, timecode, arri style R/S and genlock via adaptors. Those features / options put it in a different class from the pocket 6k which I think justifies the price tag.