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Charlie Peich

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Everything posted by Charlie Peich

  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.
  15. The red light on the left, right under the plastic cover for the fuse and speed control - 24/25/30 fps, is an indicator light that indicates the camera is running. The one to the right of it is possibly an out-of-sync warning light or it is an out-of sync beep volume control, but this depends on which variation of the BL-4 you have. A pic of the back of your camera would be helpful. You should try to find a copy of Jon Fauer's 'The ARRI 35 Book', I know, it is rare.
  16. Michael, Your motor has the '24 B/sec' label placed on it, so it means that motor will run at 24 fps only. There is no 'Forward/Reverse' switch on it like on a wild motor. Your motor looks like the the latest version of the Governor Controlled motor that Arri made before they stopped the 16S program. It's possible that that motor runs on 12 volts. Doubtful that is is 'crystal controlled' for precise frame rate. If you had the variable speed motor, it would look like the variable speed motor in the pic below. The earlier version of the Governor Controlled Motor had the large transistor mounted on it, also was 8 volts. You could have ordered the motor from Arri to run at a single speed from 16 fps to 32 fps. (not variable) It's possible you can change the electronics in it to run at your 18fps.... just a thought. Anyway, why 18fps?? At the end, Arri was just promoting this motor for 16S camera Charlie
  17. Tim, Excellent! Now that you have it up and running, are you planning on updating or adding additional info? Since we've talked, I have found more paper and some additional Arri T.I.s that might be helpful for the Arri S user/collector. One piece is a T.I. on how to use that pesky Periscopic Finder...... <_< Cheers! Charlie
  18. Hello Simon! Thank You for searching and finding the pic you remembered. I have to agree with Mark, it does look like the 200ft prototype mag that I feel never went into production. Smaller is nice, but back when the SR came out, everyone wanted the longer 400ft run.... the SR was competing with the Eclair NPR. Charlie
  19. Tim, Dom, Some info about those mirror shutters... Sam Wells: "Arri S and 16BL segment the mirror itself with a small stripe so you see your "48 flicks" so to speak in the viewfinder but this has no effect on how the film is exposed when the shutter is open." Those bars were called flicker reducing bars... interrupter bars. What they do is add a second flicker into the finder to prevent eye fatigue. Without the bars, the open shutter would give (running at 24fps) 24 flickers to the finder. That was found to cause eye fatigue, so they added a 2nd set of 'flickers', or interrupters on the mirror shutter, now giving 48 flickers per second when shooting at 24fps. It appears that's all they do. In a "History of Arriflex" article, the author put this review in the story. The review was written in 1938. Maybe this is the answer for why no black stripes on the mirror..... Bow-tie mirror shutter with black bars (blue arrow)..... Arri 16S shutter without black bars..... In this 1970 illustration for the 16BL behind the lens exposure meter, they show the optical path. They show a side view of the mirror shutter ( pink arrow ). But, they don't indicate or show the back strip/bar on the mirror. It could be that they eliminated the black bar on the 16BL's mirror, and additionally on the 16S mirror for cameras that had the APEC door/finder, to reduce the amount of 'flickers' that went to the meter to help increase the meter's accuracy. As the 16SR was available in the mid 70’s, it has a 180 degree circular mirror which would give 24 flickers at 24fps, giving it a brighter image in the finder. It was never a problem for me. Charlie
  20. 'The 200ft mags were adorably cute, but they don't really sell 200ft loads of 16mm film anymore, so they're a bit impractical.' Aaaaw, come on now Tim, the 200 ft mag isn’t rendered impractical on the 16M (or the 16S) because of Kodak, it is still very useful. What about ‘short ends’? Say you have a short end of 120 ft, 130 ft, 156 ft, 177 ft or 195 ft., why put it in a large, heavy 400 ft mag when you can have a lower profile and lighter camera using the 200 ft mag? The 200 ft mag on the 16S is much easier to hold when shooting hand held than the heavier 400 ft mag. Then there is the wind factor blowing against the flat side of the 400 ft mags on a windy day..... :o Good to see you posting again Tim. Hope all is well with you. However, while I have you and Dom (Hello Dom!) in this thread, and I know its thread high-jacking, but I have a question about the mirror shutter on the 16BL. I shot with that camera years ago, but I didn’t pay attention to the bow-tie mirror. As the 16BL movement and shutter is based on the same design as the 16S and 16M movment (the heart of the camera as Arri put it), does the 16BL have the same 2 black bars on the mirror giving an additional flicker rate as the 16S/M cameras? This came up in a private discussion with a forum member. I thought that it didn’t, that the 2 bow-ties on the BL are 'un-interrupted'. I can’t find any info on the mirror shutter for the BL camera, and I know the BL service manual is very scarce. I’m hoping you 2 would know from personal servicing experience, or if there are any 16BL owners reading this. Thank You! Cheers! Charlie
  21. Hello Mitch... Looks like the Cinema Products CP16R mount on the lens...... Your 9.5-57 lens with the CP16R lens mount looks to be a factory adapted lens, not a CP16R adaptor that would slip on to a Arri Standard or Arri B-mount. Your lens would have to be refitted with a PL mount (best way to go), or with an Arri Standard/Arri B-mount type mount. Then you could get a PL adaptor. I don't think Cinema Products made a PL mount or an adaptor. Charlie
  22. Well, that's a new one for me. But, nothing in this business surprises me. As I said above, I have never heard of this before in the States. Was it made by Arri? A 100 ft mag was never in the rental houses. Having a small load on the camera would not necessarily reduce the size of the SR camera. I would use a Arri 16S/St/S-B to get into tight spots. Very handy camera, if you know how to use it.
  23. Greetings Simon! I was looking at this thread, and I saw your statement about the 100 ft. mags for the 16SR. Arri 16SR? I've never heard of a 100ft mag for that camera. But, Arri in Germany made many film products and accessories that weren't imported to the USA, so possibly there is a 100ft mag that was made. I used to put 100ft daylight load metal reels (wonderful Kodachrome) on the feed and take-up side of the 400ft magazines. Is that what you were thinking of? Those daylight load reels made an extra level of noise that made the SR some what undesirable for sync sound shooting. Or were you possibly thinking of the 200 ft magazine for the 16SR? 200ft = a 5 1/2 minute run for sync shooting, seems like the 400 ft 11min run would be more desirable, less film changes, even though the magazine change on the 16SR is pretty fast. At the time the Arri 16SR came out, Arri had 200 ft mags available for the 16S and 16M cameras. Although these were MOS cameras, you could put them in a blimp for sound shooting, and I'm sure they only used 400 ft mags in the blimp. One might have killed the assistant if he had to change mags every 5 1/2 mins in those blimps. Arri's Silent/Sync Sound 16BL, 1st announced in the spring of 1964, then available for delivery in May of 1965, didn't have a 200 ft mag in its program, just 400 footers. In 1976, I was ready to buy a 16BL. The salesman, sales person, sales associate at the Arri dealer (back then Arri in the USA still had a dealer network, you bought all Arri equipment, parts through a dealer) said I should hold off on the BL, the new 16SR was on the horizon. I'm glad I did, I bought the new 16SR. I had SR serial number xx180, the 180th SR made. At the time I was about ready to by the BL, the dealer gave me Arri's 'announcement' brochure selling the new 16SR. The brochure had prototype pictures of the proposed SR....... The proposed 400ft magazine.... By the time I ordered my SR, Arri had a new sales brochure and price list printed.... The 16SR with 400 ft mag. There is no mention of a 200ft mag in the description. I never considered the smaller 200 ft mag, yeah, it may have been lighter, but I think all users of the camera wanted the longer run for sync sound shooting, documentaries, news, etc. The price list did not list the 200 ft mag. I was told the the 200 footer was dropped, and personally, I don't think it ever went into production. Cheers! Charlie
  24. Greetings Alberto! Are you familiar with the loading and exposing the 2 sides of the 16mm wide Double 8mm film in the camera? There is a cleaver way that was designed way back in the 1930s to prevent the user from double exposing the film. The small 25 foot reels have different openings on each side of the reel. When you wind your bulk roll down, you have to have the film correctly orientated on the reel in order to load it into the camera properly. Wind it wrong, it won't work, simple as that. The pic below is how the reels will sit in your camera when you load it. The gray reel is the raw film, the black reel is the take up. Look at the film feed spindle and the take up spindle, you'll see how the reel notches work to prevent wrong orientation of the reels. The gray reel has a faint #1 stamped on it. That means the 1st side of the film is being loaded. You also see the 4 notches on the spindle hole. These 4 notches have to be up when in the camera. If you were to flip the reel over and try to load it on the feed side of the camera, it won't go. A safety step. The take up reel has 3 notches up on the spindle hole when loaded in the correct position. I added a 2nd pic of a take up reel so you can see the 3 notches better. Usually the camera came with a reel printed like the one shown on the right below. That reel always stayed with the camera as you had wound the film back onto the reel that came with the unexposed film during the 2nd run. 3 notches up on the take up side. When you've finished shooting the 1st side, you flip the reels over and run the 2nd side through. Then process it. Slit it in half. Splice the 2 pieces together and run it on your projector. Again, the reel with the 4 notches up, as in the below pic, the film should be wound so it comes off the top of the reel on the right side, emulsion down, or in. As suggested in posts above, I'm not 100% sure if these small CAMERA reels with the different set of notches will fit on the shaft of an 8mm editor, possibly they will. You'll have to try them. I was weened on shooting Double 8mm as a kid, but I didn't wind down bulk loads of film. I used to process 8mm B&W film however. I did have a Baia film slitter. The 2nd pic shows film with Super 8 sprocket holes. If loading the camera as I explained above doesn't quit make sense, I have an instruction manual that explains the steps. I'll have to scan it 1st, so let me know. Good luck! Charlie (it really is very simple)
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