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

The Variable density track can be seen in the Soundman short when you watch it.

I like the Nagra 4.2 with the standard 150 ohm mic pre-amps (No phantom power in them)....should be a 3 speed with a xtal module and the resolver modules inside (I forget the letter code for the board...QSLI ?....it allows you servo lock and resolve to external sources)...you'll need an ATN (110V line power supply) , a speed varier and there's a cable (QCP?) that connects from the ATN to the Nagra on the right side. The cable should be a pair of banana pins at the ATN to a Tunchel at the nagra end. It feeds a 60hz pulse from the 110VAC to the resolver to line lock the machine. In practice......if you had an old mag recorder with a 110VAC sync motor in it.....the mag recorder would run 24fps all the time (except in a "Brown out"). You would have a roll of tape all ready recorded on the Nagra....throw the switch just to the right of the meter to QSLI and the deck switch from off... counter clockwise to playback (with a picture of a speaker next to it. The QSLI is then connected....60HZ reference come in from he power supply......XTAL pilotone is read off the 1/4" tape in playback.....Nagra then servo-locks itself and takes care of speed variations.....mag film will lock with the picture when you line it up on a flat bed or sync block. The -30db to 0db range...... when I first did some filming with an Auricon single system Optical sound camera...we did an exposure test for the optical track and sent it into the lab. There is a point where the sound is too soft to move the galvo and it drops out in the track. I remember that -30 being just about at that limit. If it was too loud past 0db.....you could just blow the galvo. On the Beach.....1959 United Artists....Westrex Sound mono........ With The Robe in 1953 mag film recording came in....The film camera was locked to a magnetic film recorder by 3 phase sync motors......so they got a roll of magnetic coated film with the dialog on it from the sound department. All electronics were "tubes"....give you that warmth.... Westrex dropped using variable density some time in the 50's.....and most tracks were Variable area mono. Check out the Academy curve......100hz cut on the low end and 6db per octive roll-off starting at 7kHz on the high ....that would be for the optical neg and track.... if they actually had the mag film to work with for the blue Ray....they would have a wider range track and could get around the Optical roll-offs.

if you look at that "early cinema sound thread" here...you'll see the 10 minute short called "The Soundman". My dad had a print of it when I was 9 years old....it captured my imagination....So I collected film.....started running projectors in Theaters after high school with Chitty Chitty Bang Bang in 1969 and ran theaters for 45 years. But I wanted to shoot film.....but here in the sticks (Akron, Ohio) there was nothing.....so it was buy books and buy equipment. My brother was a ham radio guy...so I got into electronics too. I actually talked my mom into taking me to Detroit for a FCC Test. I was 13. The 5 guys there at the FCC couldn't find a regulation that said I couldn't take the test...so I did and passed. I got a license to run transmitters at commercial radio stations up 20KW in power (non-directional). So I couldn't drive a car or hold a job until I was 16...but I got the FCC Ticket. Equipment .....Arri 16BL, Arri 352c, mitchell35GC....NagraIV....about a dozen mics....16mm 8 plate editor, sync blocks and splicers from 16mm to 70mm. Lighting gear. Norolco (Kinoton) projectors...3 FP-20's ...4 DP-75's (35mm and 35/70mm combination)....a couple of 16mm projectors. Sound dubbers....Magnatech.....2 systems....one for 16mm single track...and the second system from LucasFilm....it's 6 track 35mm SR 48 tracks of playback. Resolvers , compressors, limiters, EQ's, etc. and junk. one of the FP-20's and also a B&H JAN 16mm act as the master drive for the Magnatech's. All of the film I've mixed were for short films on 16mm....which were all mono tracks. mono great for learning...because everything has to be heard......go back....do a song....with a bunch of instruments and a bunch of vocals including background singers... pack them all in a mono track.....so you can hear everyone. Did lots of sound transfers from 1/4" to Mag film for a lot of guys making short films when the University's had actual film production courses too. Now I'm 64 and all the theaters went digital....so I retired. I'm now starting to play with the recording system and the screening room. don't compress your mix at all.....other than the dialog......balance the elements in the mix. if you want e-mail me direct.... RBPerrine@att.net rich "A movie studio is the best toy a boy ever had....." Orson Wells

got quite a bit of equipment here....Arri16BL, Arri35 2C, mitchell35GC...Nagra IV with 816, 8 plate flat bed 16mm editor, and Magnatech film dubbers (6 track SR). A film collection of about 50features..... Norolco (kinoton) projectors....3 FP-20's and 4 DP-75's.....and mics and lighting gear, etc. everything from 16mm to 70mm. I hardly have anything that's digital....you can always find someone to sell you a copy of Prosound tools....but try finding out the hardware you need to run it or D/A's for even 16 channels in/out.....and you'll be searching forever. I've got an RCA BK44 ribbon and have just added a tube mic pre-amp in front of it. also looking at playing with a small digital audio program Audicity to start learning with. I have yet to figure out the A/D and D/A hook-ups. the magnatech's will run 48 channels. And 45 years of running film in theaters..... Rich

Start with dialog tapes you get front the sound crew. Analog recording tapes..each one of them should have a 30 second 0bd tone one them. on a Nagra there's a switch to throw that give you a 0db 400HZ tone to record on the tape. 0db level is 12db below tape saturation.....the peaks in a signal are faster than the meter. This level allows the peaks to go above zero without distorting. Hopefully, the crew will hand you tapes that have all the dialog recorded in a limited "range"....ie from say -30 to 0db. then when you transfer it to your system to edit....all the dialog is at the same level and all the background noise too. Roomtone should be recorded with the mic in the same position as the dialog and at the same volume level as the dialog. redording digital audio....reference tone is -11dbf . this is also your zero in your mixing system. dialog should be recorded with out compressors or limiters....you can use a 40hz low cut for small room echo..... So transfer the dialog tracks.....do the picture/sound editing for a rough picture and track edit. then dialog tracks can be EQed for cleaner track....roomtone can be punched in to replace odd noises. dialog then gets 3:1 to 5:1 compression.....to even out voice levels so the audience can hear each word. build sound effects tracks for all the footsteps, door slams, thuds, bullets, explosions, etc hopefully, when you edited the picture....you left room for these effects in-between the dialog. music tracks are the same.....full range 20 to 20K......but usually cued in little sections like 7 second bridge for a location change. or a minute and a half for the Psyco shower sequence. The mix.....LCRS........music stereo on left, right and surround ......dialog in center......effects can be LCR or on all. Balance the mix so that all the elements of the track can be heard clearly. Years ago, we did a sequence in a bar with some guys playing pool which then lead to a fight out side in the parking lot. 3 tracks....dialog , music and crowd...with a few glasses clinking and pool cue shots as effects. when I mixed it together (just a mono track for 16mm film..... you couldn't hear any of the dialog. It was a muddy mess......so....all the actors came back in and looped their lines.....the new recordings were then transferred and synced with the 16mm picture. then mixed.

months late here on this topic....but I just signed up here. when shooting film for video transfer.....shoot at 24 fps and sync it with the standard xtal lock rate for doing it on film at 24frames. Transferring the film on a Rank ....the Rank will run at 23.97.....transfer the sound to prosound tools ....there's a button in the program to change the frame sample rate and it will automatically pull the audio up to keep it in sync. changing the frame rate when doing the original recording could cause multiple errors. check with the film transfer house to make sure your handing them the track recorded at the proper rate.

for year I used a senn 816 shotgun for dialog....this allowed me to keep the mic out of camera view and get high levels of audio with the mic even 10-15 ft away from the actor. dialog was always "crisp" ...lacking bass. I longed for the rich bass tracks from the James bond films. working with the shotgun...you can't be lazy....the front element has to point at the actor at all times....he moves...you move....the end of the mic points to his chin. He walks 10ft across the room...you move the 10ft with him...otherwise he move off axis of the mic and your dialog level drops down 15db. when recording (with a Nagra) ...no filtering, no limiters....you can use a low cut filter (40hz) to eliminate small room echo...but better to use some sound blankets. Now as I found out.....getting the "bass" in the voice.....with an 816.......the front end element of the mic points just below the actors chin with the mic only about 3ft from the actors chest. not possible all the time. now the reason for not filtering or limiting/compressing when recording.....you want a consistent sounding dialog track....... in post mixing.....you will roll off lows or highs of the entire dialog track to keep all voices sounding the same throughout the entire film. Then before mixing the dialog with the effects and music....dialog gets compressed either 3:1 or 5:1...for consistent volume....and to give it the ability to be heard and understood after the mix. in the old days.....a mono mix for an optical sound track on film meant sticking all music effects and dialog into about -30db to 0db range. Try playing with a mono mix of you own material to see if you can make it sound like the old tracks. In stereo today.....the LCRS mix is with dialog only in the center channel, music -- full range 20 to 20KHZ on LRS channels , and effects about the same as music. Un-mixed we talk about making "stems"....that is music rolls and effects rolls separately....a hold-over from making separate reels of recorded magnetic film for the pre-mix. Now with only one channel (the Center ) handling sync dialog and all the others blaring ...you now know why you can't heard the actors in most of all the modern movie mixes today. when recording dialog(besides mic placement)....at the head of each and every tape.....30seconds of 0db tone....for the guy to transfer all the dialog at the same level. recording room tone? mic in the same position and volume control at same setting as used for the dialog recording....so the background noise level is same and the room tone can then be used for fill if needed.