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John R Woods

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  • Occupation
  • Location
    Birch Bay, WA
  • My Gear
    Aaton LTR 54, Aaton LTR 7, Beaulieu R16 Automatic Ultra 16, Canon Scoopic Ultra 16, Eclair NPR, Arri 16S, Bolex H16, Beaulieu 4008 ZM II
  1. https://www.ebay.com/itm/Bolex-Paillard-underwater-housing-original-case-H16-camera-Angenieux-lens/192860232396?hash=item2ce75d9acc:g:r9sAAOSwRXJcjWGa Nice Bolex Paillard underwater housing, not beaten up like so many. Kit includes original case, rangefinder, blue filter, two wrenches, and some sort of mount (light meter? Light? -- see photo), a Bolex H16 film camera, and Angenieux 10 mm retrofocus lens. I have never used this housing or camera, but the camera winds up and runs. The return spring on the M-STOP-P switch seems a little weak, but the camera does run. There is no carry handle on the case. I'll leave it to the buyer whether to find an original handle, or just get 'a handle' for functionality. The blue filter has some scratches on it, but I suspect these would not be a factor underwater.
  2. Yeah, that's the thing. Your seller says it's been tested, but most of the super-8 cameras I see for sale say that they have not been tested. And it's especially difficult to do with the Beaulieus, because you can't just put in new AA cells. Fortunately for me, the one I'm selling works -- with the new $100 battery. The one I just had repaired... It looked like new. But after getting the new battery, it didn't work. So $300+ for the camera, $100 for the battery, $350 for repair, and $50 for shipping. It's easy to get $800 or more into these things.
  3. I shipped it to Bernie at Super 16 Inc in New York. BTW: I like your Scoopic. In addition to the 4008 that did not need repair, I'm planning to sell my Ultra 16 Scoopic (as most of my other cameras). I'll have an XTR Prod yet! :D
  4. I haven't had the chance to shoot test footage yet. Bloody Pacific Northwest weather! The repair and service was $350. I have two Beaulieu 4008 ZM IIs. I'm going to sell the one that didn't go in for repair. Since it IS running, and since it has a new lithium ion battery and charger (and cover -- BTW, the new battery will cost about $100 on eBay), I'll have to ask $500. The only thing 'wrong' with it is that the button on the back of the grip is a little sticky.
  5. I've heard 'jamming' but I'm not sure what it is. IANA professional cinematographer, so the equipment I use when I do shoot is old-school. Can you explain? I have an idea that the timecode slate sends a signal to the camera, which records the time on the slate onto the film. Regarding AatonCode, I found this .pdf. The XTRprod can accept timecode information in both ASCII and SMPTE form, and work with all standard timecode devices. Because the same time address is running in both the camera and the sound recorder, a slate is no longer needed for syncing purposes; synchronization becomes fully automatic during the film/tape transfer or later post-production stages. That sounds like the camera gets its information from the recorder, and they both have the same code. So I'm not sure that helps me as far as the concept behind a timecode slate.
  6. All the cool kids use timecode slates. Me? I'm a shooter. I leave synching to the editor. We use a plain slate -- white plastic and striped sticks. My friend who does the hard work has no problem with that. But I'd still like a tutorial on how to use a timecode slate, even if I'll never use one. 'Knowledge for the sake of knowledge', as it were. I want to upgrade from an Aaton LTR 54 to an XTR Plus or XTR Prod. I assume timecode slates will work with those? Aside from the obvious, show the slate and speak the words and clap the sticks, what are the ins and outs of timecode slates?
  7. Thanks, Dom. Looks like I have an 'extra' piece of equipment. I'll see if that one in Istanbul sells, and then put the one I have up for auction.
  8. I've mentioned elsewhere that cinematography is not my profession. So I need some help regarding an A & R VSU A 16 SR, 25 fps. Here's one I found on eBay: http://www.ebay.com/itm/arri-VSU-A16SR-25-FPS-UNIT-/122354661069 I'm assuming it's a speed control. There's a knob next to the cord, that says A 35 BL, A 16 SR, and A 16 BLEQ. I presume these are the cameras the unit works with. On the other end is a toggle switch that reads 'Cam. Ref.' and 'var.', and a button. The face has a rheostat dial marked 10 to 70, with additional 5-unit marks at either end. A pair of clamps is on the back, presumably to attach the unit to a tripod leg. So what exactly is this, and how is it used? I don't have an Arri SR, and I have not tried to plug it in anywhere on my Aaton LTR.
  9. The camera was waiting for me when I got home Tuesday. I may have misheard that the light meter is weak, as it registers the same on this camera as the one on the other camera does. I can't wait to shoot some test footage. I'll probably get Pro 8mm's ASA50 Daylight stock. They offer SD, HD, 2K, and 4K transfers.
  10. Yeah, I'll use it for a while. One thing I was told was that the light sensor is weak, and it's just one of those things that happen. (The needle moved, but I haven't tested it with film.) I think Wittner has replacements, but I have my Minolta IV-F. The other 4008 seems to be working, though the 'grip safety' (the switch on the back of the grip) is a bit sticky. I think I'll send that one to Björn eventually -- though I'd like to get the 5008 to him first.
  11. Yep, the camera is on its way now. It scheduled to be here Tuesday.
  12. Unlike many or most of you, I don't make my living as a cinematographer. About a decade ago I worked at a local studio, and bought a digital video camera (miniDV). Of course, it was 'obsolete' within a year, as 'new and improved' cameras came out. It occurred to me that the reason I avoided buying a video camera for so long was that they all seemed outdated within six months to a year. I'm a cinematographer when my best fiend -- I mean friend -- makes a film. He opted to shoot on super-16 for his latest production specifically because he wanted the film to look like film. We used my Aatons. He has since bought an Arri SR3. In both of our opinions, film equipment doesn't really become 'obsolete'. A wind-up Bolex still moves film past the shutter at 24 fps, just like the newest cameras do. Of course, the new cameras are much more capable. But when you have a micro budget, an Aaton LTR-7 or LTR-54 does just fine. (But yeah, I'd really like to have an XTR Prod. ;) )
  13. Does he also fix the light meter? How much does he charge for a cleaning and tune-up?
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