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Charlie Peich

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Charlie Peich last won the day on December 11 2015

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About Charlie Peich

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    Cinematographer
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  1. Your motor is the basic Arri 16 S / 16 M Governor Controlled motor that was modified to output a 1 volt sync pulse/signal that was fed to a 1/4 inch synchronous tape recorder. One would plug the sync cable (umbilical cord, as it was called) from the recorder into the single pin RCA jack located on the back of the motor next to the knurled turning knob. Any minor speed variations or fluctuations of the camera would be recorded on the ¼ inch tape. With this motor you could then shoot lip-sync sound with your noisy Arri 16 S (with additional sound coming from the 400 ft torque motor) or M camera (well, maybe the camera was in that user friendly ‘blimp’). You wouldn’t need an A.C. power supply or the Arri a.c. sync motor for sync filming. The camera was driven by batteries and same for the recorder. “Governor controlled motor for 8 V battery operation with fixed camera speed of 24 (Cat. No. 1161) or 25 frames per second (Cat. No. 1162). This speed is automatically maintained and cannot be changed. The speed required should be stated when placing an order. Other speeds can be adjusted on request. This motor is designed for forward drive only, and a knurled knob for turning the camera mechanism by hand is also provided.” Most likely the speed of your motor is 24 fps. You can always check the speed of the motor on the camera with a strobe light. The motor used for this modification was the early Arri Governor Controlled motor. This was the one without the transistor attached to it. I would guess your motor is from the early to late 1960s. The sync pulse modification did not change the operation of the motor. So, now you have a constant speed motor (24 fps) for your 16 S camera. This motor was modified by Magnetic Sales Corp, an equipment division of Loren Ryder’s ‘Ryder Sound Services, Inc’ at the same address. Loren Ryder started his business in 1948. He was an early pioneer in magnetic sound recording for Motion Pictures, initially working for Paramount. He became a leader in the industry for portable magnetic recording on location. https://en.wikipedia.org/wiki/Loren_L._Ryder There is a nice article about him in the May 1973 American Cinematographer.
  2. "Your camera and magazine might need to be connected by a ground wire." Chris, I agree with Jean-Louis's above statement. According to Arri back in the day, the torque motor was grounded to the magazine when locked into place on the mag. When the magazine was attached to the camera, the magazine was supposed to be grounded to the camera. But, back then there must have been occasional problems with grounding the torque motor, so Arri came up with a sure fire solution, ground the torque motor directly to the ground on the battery. This was accomplished with a 'ground wire' as Jean-Louis recommended. When you purchased a 16 S power cable from Arri, it came with a grounding wire for the torque motor. One end of the grounding jumper cable was plugged into the ground side the power cable, and the other end was plugged into the torque motor via the silver receptacle shown in the pic below. 400 ft & 200 ft torque motors have the same grounding connection. The red arrow points to the positive power pin in the magazine that makes contact with the camera. When the cameras were newer, it was rare to use the jumper cable (my experience). I used 4 torque motors and never had problems, or needed to use the cable. Most users removed that little cable from the power cord and set it aside. If you were just using 100ft loads, you didn't need it. Then those little cables would eventually disappear. I've seldom seen them in 16 S kits for sale. Arri listed the ground cable in a 1962 price list: "Special Ground Connection Cable (Replacement); goes from main Cable to Torque Motor". It was still listed in a price list as late as 11/1980. I don't have the separate instruction sheet for the 400ft mag and torque motor. Very little was said by Arri about this ground cable. There are no ad pictures that I've seen showing this little cable in use. Applying 8.4 volts to a torque motor that was modified for 12 volts would just make the torque motor run slower. If the circuit supplying power to the torque motor, and then to ground, is complete, it would still run.
  3. The Canon C-16 Macro Zoom was based on the Academy Award winning Canon K-35 Macro Zoom for 35mm cine format cameras. Cinema Products was the distributor for Canon 35mm professional lenses. A 11/1972 ad.... You focusing problem has to do when you have the lens in Macro mode. When you put the lens in Macro mode, you then focus the image with the Macro ring, not the front focusing ring. Canon 1st advertised the 16mm lens in 12/1972 In 1976, the Canon 12-120 was $450 cheaper than the Angenieux 12-120. However, at that time the Angenieux 12-120 was a more popular lens. The Canon lens never caught on, and I don't think many were sold. Now rare. Rumors were around that the Canon 12-120 wasn't very sharp at the wide end, but very sharp at the long end. Rumors. I never used one, so I can't say, yet I'm repeating rumors.... A sales brochure from early 1973...
  4. Pic 16s with 200 ft mag attached. The 200 ft mag is a 'clam shell' type mag, the lid is hinged at the top. Very useable when hand holding, smaller profile, less weight, than 400 ft mag. Not buffeted around as much as the 400 ft mag on windy days when hand held. Nice for short ends on cores 100ft to 199ft.
  5. From an early sales brochure... Remember, the 400ft torque motor will not work on the 200 ft magazine.
  6. They are only oddball in this day and age. You are looking for retaining rings, adaptors, step-up adaptors, lens hoods for lenses that were made 50 - 60 years ago. It used to be you would go to your local camera store/shop, and they would have a kit from TIFFEN, EDNALITE, KODAK that had all the small screw-in size rings. You'd pick one out and try it on your lens. If it didn't fit, you had a size that you could start from and look for another ring. Or, the camera dealer would get the right size from the distributor or manufacturer for that lens. But that doesn't help now. Now you have to search Photo Collectable shows, garage sales, eBay or search the internet for the vintage lenses. What size filters do you have now? Do you want to adapt them to your lenses? It may take years to find a Series 4.5 filter that you need. You could contact the guy at the link I sent you above..... https://www.filterfind.net/Order.html He sez... Made for 8mm, Super-8 and 16mm movie cameras... We have a guidebook for sizing lens...include all specs when inquiring. He lists a couple of Photo shows also. Another link about finding vintage filters and adaptors. A good read..... http://throughavintagelens.com/2013/09/vintage-filter-systems/ BTW, your 2.8" TT&H telekinic is a 71.12 millimeter lens. Or, 70mm as you said above. This was a lens that B&H requested from TT&H. B&H had a plan..... (from 03/1950) Your 20mm f1.9 was used on the 200 Series mag load cameras and also on the E.E. versions of the 200 Series and 240/627 cameras Some reviews of the 20mm lens..... No matte box that I know of. You would have to build your own camera base plate and support rods, then fit a matte box to it. Charlie
  7. Size 4.5 is the old 'series' filter sizes. You'll have to find them on the used market now. Read about them here... https://www.apotelyt.com/photo-accessory/series-filters Buy some here.... ...maybe... :blink: https://www.filterfind.net/Series_4,_4.5.html Starting in the 1930s, filters were also made in a sizing system known as a series mount. The filters themselves were round pieces of glass (or occasionally other materials) with no threads. Very early filters had no rims around the glass, but the more common later production filters had the glass mounted in metal rims. To mount the filters on a camera, the filter was placed between two rings; the mount ring either screwed into the lens threads or was slipped over the lens barrel and the retaining ring screws into the mounting ring to hold the filter in place. The series designations are generally written as Roman numerals, I to IX, though there are a few sizes not written that way, such as Series 4.5 and Series 5.5. Most Series filter sizes are now obsolete, production having ceased by the late 1970s. However, Series 9 became a standard of the motion picture industry and Series 9 filters are still produced and sold today, particularly for professional motion picture cinematography. Measure the size of your series 4.5 retaining ring (26 - 28mm I think), then see if you can find a step-up ring. You may need several step-up rings screwed together to get to the size you want. https://www.ebay.com/itm/New-28mm-to-52mm-Step-Up-Lens-Filter-Ring-Metal-DSLR-SLR-Digital-Camera-Adapter/401559615016?hash=item5d7ed17628:g:v8IAAOSwoHJbNVrk Charlie
  8. The DeVry Standard Automatic camera was available, or put on the market, July 1926. This short article was published in the July issue of a popular Moving Picture magazine.. It seems DeVry was aiming for the 'Amateur' moving picture photographer at that time. This is the cover of one of DeVry's sales brochure from 1926. You'll notice the moving picture photographer in the picture is using the DeVry Standard Automatic camera to photograph what appears to be his family at home. On the back side of this cover, DeVry prints a 'Forward' In December 1926, DeVry runs an ad for another sales booklet aimed at the amateur .... In this booklet is a wonderful picture of a Mom taking moving pictures with a DeVry Standard Automatic camera of what appears to be her baby, at their home... (Home Movies?) Also in this booklet is a page describing what went into the process of designing this camera for amateurs... "World Famous Experts"! Included in these 2 sales booklets is dialogue trying to convince the perspective Amateur Motion Picture Photographer the merits of Standard film over Sub-Standard film. They are humorous, well, to me that is. As you know Simon, B&H had announced the Eyemo Automatic Standard Professional Portable camera in October of 1925. Then in January 1926, they announced the availability of the Eyemo in 2 publications. In both cases they stated the Eyemo as built to 'professional' standards', 'especially designed for field and stunt use'. 'At Last the need for a compact, light of weight professional camera of dependable quality has been supplied!' Nothing about a motion picture camera for the Amateur. So, B&H beat DeVry to the market by 6 - 7 months with a Standard Automatic Camera that takes 100ft daylight load rolls of film.
  9. Simon, Are you saying my statement is incorrect?
  10. Seems it would be a series 6... 27mm threads on the Ektar lens https://www.ebay.com/itm/NOS-Kodak-Series-VI-No-27-Screw-In-Adapter-Ring/323181589291?_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D2%26asc%3D44040%26meid%3D87113e8d8a2d4e94ae4a2efa5ba84dbe%26pid%3D100011%26rk%3D3%26rkt%3D12%26sd%3D222893351191%26itm%3D323181589291&_trksid=p2047675.c100011.m1850
  11. You use this tool / wrench.. ( Angenieux supplied tool with each lens usually with a finder) inserted into these 2 slots Then unscrew the retaining ring. Voila.
  12. For the last generation of Arri film cameras, its called the 'Timing Shift Box'. Timing Shift Box (TSB) The Timing Shift Box adjusts the phase relationship of the mirror shutter to the movement. The result is that the film is exposed while being trans-ported, which creates a streaking effect. A unique feature of the Timing Shift Box is the Jitter function. It introduces a random fluctuation in the timing shift, resulting in a fluctuation of the length of the streak. Compatibility: This box attaches directly to the Studio camera or the Remote Control Station, and can be connected to the Studio or Lite camera with the MCB Cable Adapter and the Speed Control Box Remote Cable KC-65 (3m/9ft) or KC-69 (15m/45ft), with or without the 50m/150ft Cable Drum KC-73. It also works on the Arri 435 Advanced and 435 Extreme.
  13. Rob, did you see my PM I sent you? You should not have to lift the circuit boards. The 15A fuse is screwed in with 2 screws.
  14. Rob, Sorry, I was thinking about the large red light. You are correct, there are 2 LEDs under the plastic cover (thanks for the pic). I had to dig the book out...... The LED on the left illuminates if your main power supply polarity is REVERSED. Immediately unplug your power cable!! Pin 1 of the main power receptacle is minus. Pin 4 is plus 12 volts DC. The .75A power fuse will blow if plus and minus are reversed. The main 15A power fuse will most likely blow. The 7A accessory fuse should also be checked. The LED on the right will glow when the 15A main fuse or the 7A accessory fuse blow. These fuses are located inside the motor compartment. The fuse located under the plastic cover at the right is the .75A fuse protecting the camera electronics. The fuse at the left is a spare. Is your power supply polarity reversed?? The screw head in your pic is for adjusting the volume of the out-of-sync beep.
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