Richard Perrine

2 rack system of Magnatech 4000 series Magnetic film dubbers. Can run 16mm or 35mm film at 24 or 25 FPS. Setup with 16mm heads only. Rack one recorder....1 edge track record and playback. Rack two playback dubber...2 decks play 1 track each plus 16mm optical sound reader. The 3 machines lock together so you can playback 2 track and fed them to a mixer then to recorder. Each rack is 7 ft tall....24" wide...20" deep...… weight each rack 300-350 lbs Both would fit in a full sized van. $1,500.00 Also...a different 3 rack system is also available (4 track record/ 16-24 track play) pick-up here in Akron Ohio. E-mail RBPerrine@att.net

Arriflex 16BL with Xtal motor, Tobin motor control, 2ea 400ft magazines, 12 to 120 ang zoom and Cine 60 battery belt. ready to shoot sync sound. $2,500. 00 Arriflex body brace $200.00 O'Conner 100 fluid head (Mitchell 35 flat mount) $500.00 standard wooden tripod legs $250.00 (Mitchell 35 Flat Top) short wooden tripod legs $200.00 (Mitchell 35 flat top) Set of risers : includes Hit hat, 3", 6", 12" $750.00 (Mitchell35 flat top) Mitchell 35mm GC Camera complete out fit with 4 400frt mags, 8 1000ft mags, 3 original motors, accessory case full of stuff. Baltar lens set. sold as complete only....$6,500.00. Will list misc cables and lenses later in separate thread. located in Akron ohio Email : RBPerrine@att.net

I've got an Arriflex 16BL with 12-120 zoom, 2 400ft mags and Tobin Xtal motor control. Located in Akron Ohio....about 2 hour drive from you. don't know how to PM you on the site here ….don't see any buttons Email me.....if interested. RBPerrine@att.net

OK saw your picture of the camera. on power cables.....there's 5 pin and 4 pin.......basically pin 1 isthe negative (I think ...from memory) the others are positive with pin2 being 8.5v....#3 12 volts....piin #4 16 volts....and pin #5 for 24Volts..... This is standard so that the cable can be wired for any battery combination. There is also a 2 pin banana plug that can also be wired. So wiring between pin 1 and pin 4 gives you the 16 volts. On the viewfinder.....take off the lens ......turn the shutter so that light is reflected to the viewfinder....look at the ground glass of the viewfinder turn the focus on the viewfinder ....when the etching on the glass are sharp ( you should have camera frame cutoff etched in the glass) ....it's in focus....lock it down there. What we did with mine was to build a blimp for it.....started with a 5/8" plate of aluminum and got 2 1/2-3/4" pieces of poly eithelne rubber....one piece got 2 hole drilled through it for 2 bolts into the base of the camera (holes drilled so that the heads went completely through the first piece). The second piece had a cutout in the shape of the lower flat base....then holes just for the threads of the bolts to go through. The 2 were glued together. The they were big enough to drill 4 to 6 holes to put screws through the rubber and attach the rubber to the aluminum plate. then we got some light weight aluminum sheet...it had holes stamped in it all over it and could easily be bent into any shape we needed.....we cut it into the size we needed leaving space around the camera as needed and made a top and bottom half that could be locked together with some small clasps from a brief case. Wired some plugs and a flasher to it that flashed when the camera was running...... To seal it.....BONDO......and cut 2 inch thick foam for inside to deaden the sound. Worked great for silencing the camera. The draw back was the viewfinder.....it wouldn't extend out far enough to make it easy to pan or tilt the camera and keep your eye up to the viewfinder. SO your camera set-ups were mostly static. a video tap would be a must to follow some moves with actors in it. The whole rig probably weighed close to 30 lbs........ Also glass sheet in front of the lens. Rich

Got some pictures of the camera? The Arri techniscope did have a different movement installed in the body. On my 4 perf camera....i would unscrew the motor from the bottom and remove the adapter gear.....attach a Cine 60 base (without the adaptor gear and flip the motor upside down and screw it into the Cine 60 flat base....It a one to one drive so nothing different there. the techniscope camera usually had a buckle trip switch (for loss of loop shut off) and also could be ordered with a pilot tone generator for feeding camera sync pulse to the Nagra. Mine also has a hard front one it (only mounts one lens) rather than the 3 lens turret....with an arri standard mount..... the later camera could have a Arri B mount for the lens. also I never had to replace the adaptor gear when I switched to the CP Xtal motor.

Hi Sam.....I've also got an Arri 2c.....years ago I bought a CP xtal replacement motor for that draws only about 2 amps at 16 vdc. in the past I've found some gell cells....normally used in emergency lighting battery packs. Gell cells have no memory. they come in 6 volt blocks....3 of them for 18 vdc....years ago they were about $20.00 each. Building a box to carry them in was a make shift thing.. I used anywhere from 5 to 8 amp hour blocks...wired them together....and also made my own chargers for them. I actually did 2 12vdc packs for my Arri 16BL.....and sent them out on a shoot. They ran 16,000 ft of film...when I asked them how the batteries worked out....they told me that they didn't change to the second battery or charge the first one that they were using.

Sam....sounds like your shooting film with an un blimped camera.....make your job easier.......use a barney on the camera to reduce camera noise....or actually build a box to enclose the camera (leave room for about 2" of foam around it.....seal any holes to reduce noise)....with glass in-front of the lens.. Or the next thing you can do is to design the shots so that many of them can be shot wild....then sound efx or voice overs added later. Then finally,.....use a shorgun Mic...with a narrow pattern so that the mike rejects off axis noise. I've used an Shenn 816 for this a lot when recording. As a general rule ...don't use the low end roll off in he Nagra unless your in a small room where those low frequencies bounce around. Hang a packing/moving blanket up on a couple of light stands to help eliminate the bounce sound (sound blanket) They can be filtered out later. Let you audio mixer do the final EQ on the dialog track.....if you change a lot of things with EQ while recording dialog tracks will start sounding different when you get to the mix.

O Conner 100 head Mitchell 35mm flat top mount with Stnadard wood legs and RCA short legs $750.00 3M Fastex 16mm high speed (500-9000 frames per second) rotating prism camera Model WF4 takes 400 ft film load on spool has lens, carrying case manuals and accessories $450.00 Mitchell 35mm GC camera With 4 Baltars, 4-400ft mags 8 --1,000 ft mags Accessory case, 3 motors All original made in 1949 excellent condition $7,500.00 Arriflex 16BL w/ 12-120 zoom 2-400ft mags Tobin Xtal controlled motor carrying case and filters $2500.00 located in Akron ohio packing and Shipping additional RBPerrine@att.net

Aaron..... I've got a 3 gang sync block with a 24 frame motor drive on it. No picture head ...you use something like a moviescop viewer and a squack box amp. I have the moviescop.....but no squack box amp.....and not sure about a mag head for running a mag track...would have o look around for the mag head. Also have a 8 plate flatbed....2 picture 2 sound.....or 1 picture 3 sound rolls. Contact me if your interested and any of the stuff. RBPerrine@att.net

The side viewfinder on the lens means the lens was designed for a non-reflex camera.....like basically an older Bolex. A Bolex that is has reflex viewing nad is a REX series camera....has a beam splitter behind the lens mount......and takes lenses that are marked "Rx". The difference is that the back focus distance is different......so I doubt that the lens would work on a camera that is already reflexed. The lens with the viewfinder would work on an non-reflexed Bolex H-16.....or a CP-16A. Rich

I've got a Fastex F4 16mm rotating prism camera from the mid 1950's or 60's. I've never run it...got the camera with a bunch of other stuff I picked up and since it's low speed is 500 frames per second I didn't think I would ever have to stop a bullet.....I think the top speed is some thing like 3000 frames. (would have to check the manual). Cables and books are there on how to use it and calculate exposure. Battery is not with the camera.....runs on something like 40Volts (another thing for me to check) If your interested..... About 100 lbs to ship. $400.00 plus packing and shipping (it is in it's own case.....I have some pictures I could send you). Located in Akron Ohio E-mail RBPerrine@att.net

Years ago I needed now batteries for all my different cameras......I found a battery called a gell cell. They are just like the name implies.....internally there a gel paste.....rather than a liquid like the very early Arriflex Camera batteries were. If I remember correctly, these were nickel hydrade (liquid). Now......Ni-cad's are known for having "memory".......gel cells don't. You could buy a 12 VDC 4 amp block.....you'd have to cable it with the right connector for the camera. Also find a charger for it.....I'd have to look up my old file....I built several chargers.....depending on the battery I needed to charge. The Arri 16BL took 12V the 2C took 18V for the CP motor The charger (off the top of my head) should be 2.4 volts per cell.....don't remember the Milli-amp charge rate. 8 cell in the 12V battery.....X 2.4V.....gives you a 19.2 volt charger output. I actually bought a set of 8 amp hour batteries to drive the arriflex 2C regular motor and the Mitchell camera. once I put them together to get the 12 V block for the BL and sent them out on a shoot......they shot 16,000ft of 16mm. Brought the camera back.....and I asked them how often they had to charge the batteries...... and they said they didn't. Rich

my friend and I have a bunch of these....and we need to lighten our load. So if you might want to play with a system like this.....and have some floor space to set them up. We can probably give you a system.....say 2 playback racks and a record rack Heavy stuff...380lbs per rack.....located in Akron,Ohio. if your interested contact me by email : RBPerrine@att.net

Correct an Arri16BL would not stop with the shutter closed....just stopped where ever it stopped.....so you could have a flash frame. electronic slate.....when you had constant speed motor.....you connected a sync cable between the camera and Nagra. this fed the pilotone (camera speed signal) which was recorded on the tape. When you threw the switch to start the camera a voltage pulse flashed about 6 frames of film in the camera (a small bulb is mounted below the gate and can be removed and changed when needed) and the voltage also fires a pulse turning on the tone generator in the Nagra. putting the tone on the tape. once the camera is up to speed , the tone stops. if you converted the camera to a Xtal motor.....no cable was needed between the camera and recorder....just the Xtal controlled motor in the camera and a Xtal module in the Nagra. After installing the Xtal motor, you lost the electronic slate. just a note here on the nagra.....as you look at the pilotone head.....you'll see it has 2 head gaps.....each one just off center. the first head at the left is the erase head, then the record, the pilot, and the playback head. in recording , the tape is erased, the audio is recorded and finally the pilotone......and of course you can throw the switch and listen to the audio in your headphones from the playback head while recording. The pilotone is recorded over the audio.....one of the head gaps is connected out of phase with the other one.......any playback of the audio on a machine with a full track head will pick-up everything.....since the 2 tracks of the pilotone are out of phase......they cancel each other out......and all that you hear is the audio. If you play the tape on a deck with 2 track stereo heads....or 1/4 track heads......you'll hear a buzz (the pilotone) in your audio.

haven't been following the prices on Ebay, 800 to $1000 sounds fair. Rich