Charlie Peich

Tim, The newer mags will work on the older cameras. Based on personal experience, you can use the 435 400ft mags on the 35-III. The 435 400ft mag would fit on your 2-A,B & C if it wasn't for the neck strap ?eyelet? immediately behind the magazine opening. I've used 200ft and 400ft 2-A & B mags (belt take-up) on 35-III and 435. For 200 ft & 400ft 2-A & B mags that have the belt take-up, run no more than 60 - 90fps (depends on the condition of the belt - test) on the 35-III and the 435. The belt mags were designed for cameras that ran no faster than 50fps forward only. Once, in a pinch, I did shoot with my 400ft 2A mag at 120 fps on a 35-III that had a gentle ramp up to speed, it worked successfully, the exposed footeage was nice and tight on the take-up. Again it depends on the condition of the mag and the cloth belt. The 400ft ?geared? magazine came about when Arri introduced the 2C and the 80fps 2C. The 400ft 2C/35-III mags with the geared forward/reverse design, you can run them up to 130 fps on 35-III (version 3 in the 35-III line) and 435. On the 435, you will not be able to program the camera to run past 130fps with the "black" colored mags. These can be modified by PS Tech to go to 150fps, then painted grey. These 35-III 400ft geared mags will work on a 2-A & B. I have a 2-A with the 2-B movement from the factory. The mags work great.

Hollywood Reporter: "of the deal with Panavision, which pioneered the single lens reflex movie camera." Really, I didn't realize that that. Will this mean that Panavision will now own more Arri cameras than Pana cameras?

William, Check out this Yahoo group Auricon Optical Sound Users Group . There's a lot of pictures, sales brouchures showing the different configurations, and historical info. I've shot hours of film with the Pro-600 and it was my favorite Auricon model (I was very, very young). The footage of that Pro-600 was rock steady. The steadiness was compareable to footage that I shot with an Arri S (I used to check frame line steadiness on the telecine). We had other Auricons (converted Cine Voice's) that were not quite that steady; it just depends on the individual camera. The Pro-600 in it's prime was exteamly quiet. Yes, very heavy, no hand holding, it kept you in shape when moving around! But, production style was different back then, but I didn't realize that then because I was so young. Charlie

Kerwin... I totally missed that Tobin made a motor for the BL! Check out this eBay auction.

If you don't own one, then you'd be better off going with an SR or Aaton. I know there were some motor / electronic modification kits for the 16BL after Arri stopped making the camera. Check with Clive Tobin or Bernie O'Doherty as they may have the right answer. Oh, Tim Carroll may have info on the BL also. I just checked an old catalog, and indeed, Arri had a variable speed control for the 12vdc Universal motor. It adjusts and controls the camera speed from 10 to 40 fps. Here's what they had to say about the motor: 12VDC transistorized, induction governor controlled motor, forward operation (3000 rpm). The Universal motor will also operate in crystal mode with suitable external system (Crystalock and Jensen) and variable speeds with variable speed controller. Arri made a Crystal motor for the BL for "precision cord-less sync". Specify 24 or 25 fps operation. Also has additional crystal speeds of 6, 12, 24 and 48 fps. With an additional variable speed control for the crystal motor you can get speeds of 5 - 75 fps. It also stopped the shutter in the closed position like all modern cameras. Then there was a controller called the Crystalok Crystal Sync Accessory. It attaches to your camera equipped with universal motor in seconds. Shoot 24 fps in crystal sync or variable speeds from 14 to 48 fps. The 2 BL motors from Arri were built in and not easily changed out like the motors on the 16S or 16M I've seen some BLs on eBay with these attachments, but I'm not aware of anyone making similar products today. Make sure you find out what motor is in the camera if and when you buy one! Charlie

The 16Bl was designed for "blimp less" sync sound shooting at 24fps or 25fps. It was also used in TV newsgathering with a mag stripe-recording module. If you wanted to shoot off sync speed, you simply picked up your companion 16S / 16ST and shot your under or over cranked footage with that camera. Why use a more expensive blimped sync camera on mos shots? :lol:

I believe that that lens was designed for Regular 8 or "Double 8" cameras that had interchangeable D mount lenses. D mount has smaller diameter threads at 0.625 inch vs. C mount at 1.000 inch. You would have to make D to C mount adaptor ring, or would that be a C to D mount step down adaptor? The flange distance is shorter for D mount lenses at 0.484 inch vs. 0.690 inch for C mount lenses, so that would also be a problem for mounting on a C mount camera. I doubt the lens would cover a standard 16mm frame completely. You want to find the angenieux 5.9mm lens which was made for 16mm and costs more than the 6.5mm lens. I know there is a angenieux 6.5mm on eBay now, but they have it listed as a C mount. Ask them to measure the thread diameter for you before you bid on it.

David, Did you have a chance to visit the Kodak booth? "Kodak is demonstrating an array of state-of-the-art film technologies at the 2007 NAB conference which runs April 16-19. The company will showcase the organic quality of film displayed in ..." Or was the Kodak booth the source of the "cricket" chirping sound? Thank you for your informative observations from the NAB! Charlie

Back in the day when TV stations were using Auricons (or the various modifications of the Auricon) for SOF (sound of film) news gathering, with the increased use of color film they went to magnetically striped film instead of optical tracks (optical tracks were easier in processing with b&w film). There was also an increase of sound quality with the mag tracks. The separation between picture and sound went from 26 frames for optical tracks to 28 frames with mag tracks. To help in editing these SOF pieces, Magnasync/Moviola manufactured a Model 2300 ?Displacement? recorder for TV stations which aided in editing. From the catalog: The Masnasync Model 2300 Displacement Recorder automatically re-positions the sound track of a processed 16mm single-system release print film to "editor's sync" . . . sound and corresponding picture "in line" . . . for rapid, accurate editing, and then automatically re-positions sound track to "printer's sync" or "projection sync" for immediate projection, most often required by TV and Documentary producers. Use of the 2300 eliminates the need for equipment associated with conventional, double-system transfer of 100 mil original magnetic sound track to a second 16mm magnetic sound track. One Displacement Recorder and a viewer equipped with magnetic head are the only units required. "In line" editing eliminates "Lip-flap", unwanted or unassociated picture sound. The unit may be interlocked with other magnetic film recording equipment and projectors including conventional TV chain projectors. An audio input is provided to permit addition of sound to unrecorded release print film, and a playback audio output is provided for projection tracks. The 2300 circuitry is modular plug-in solid state. Monitor speaker and headphone output are provided. SPECIFICATIONS Film Type, Tracking: 16mm 100 mil magnetic stripe motion picture film. Film Capacity: Standard 1200-foot reels. Take-up and Rewind: Two torque motors for high speed rewind from reel to reel. Footage Counter: Directly coupled to film drive sprocket for accuracy; adds forward, subtracts reverse. Instant reset type. Drive Motor: Salient pole synchronous. Standard unit furnished with 115-volt, 60 Hz, single phase, 24 fps drive motor. Drive Motors for other voltages, frequency and three phase are available. Frequency Response: 50-10,000 Hz, ±2 db at 36 fpm. Distortion: Less than 2% total harmonic. Signal-to-noise Ratio: 50 db minimum. Flutter and Wow: 0.3% maximum rms at 36 fpm. Auxiliary Record Input: 10,000-ohm bridging unbalanced, -15 db to +20 db level. Outputs: 600/150-ohm balanced or unbalanced, +20 dbm maximum. Safe-print output jack on rear of chassis, approximately 0 db unbalanced. Monitor: 4Vi inch V.U. Meter with switch to select Record, Playback or Bias Monitoring from the front panel. Headphone monitor jack on the front panel for phones 600 ohms or higher. Power Consumption: Amplifier ?10 watts maximum. Transport?125 watts maximum at 115 volts, 60 cycles. Price 4/1/70: Model 2300 $2,495 Model 50 16mm Table Viewer with mag head $375.00

Maybe he could borrow yours!

Adam, Check out this Yahoo group about Auricon cameras. It is mostly about the guys repairing the optical sound amps, but there is historical info on Auricon also. Auricon had cameras that recorded optical and magnetic tracks. Arri, Mitchell, Bolex and Cinema Products had cameras that recorded sync sound on mag stripe film.

Contact ZGC, Cooke in the US. for a replacement.

Would you then refer to one of those single individual lenses as a "Len"? Or, ask your assistant to pull out of the case of lenses the 18mm len? This is a running joke one of my long time friends/1st A.C. and I have.

Rupe, Lee Filters make a 100mm sq mount/frame for their poly filters. You would be able to secure the net to the frame with nail polish . Then you put this 4X4 frame into your matte box's 4X4 tray like any other glass filter. Saves time on set when you have your nets made up ahead of time. You could then make different densities of the net by how loose or tight you stretch the material when you attach it to the frame. I've done this with round drop in filters of 30.5 and 40.5 mm size. I also recall reading about specific frames for nets, but I'm drawing a blank as to where I saw it. You can try South London Filters, however their site appears to be down right now (carey.duffy@camerafilters.co.uk). I think they may have a 2 piece I-ring type metal frame for nets.

Optiteck Duclos Lenses Focus Optics Cooke in the US Now remember to update your name as requested by David Mullen ASC!

I was visiting photo.net, and I ran across a thread that was discussing Kodak dropping the Infrared b&w HIE and color EIR films from their catalog and the face of the earth. Anyone here heard that rumor? Has anyone shot with these films lately?

Jim, Check the topics in this forum. This was discussed 3 topics down on this list.

Yes, 2C mags will fit a 2B or 2A body and vice versa. This is for 200ft or 400ft mags. I have a couple of 200ft 2A mags I've used on a 35 III and 435.

Just listed on eBay 2C Door. Good luck!

Hi Joe! I have trouble with that statement also. What lenses were you shooting with (if primes, which format - 16 or 35?) on the frame grabs "Flare1 - 4"? Also, did you use/have a matte box and how "thick" :D was your filter selection, or did you use any diffusion? Does the flare move when you pan the camera? Can you see "object" movement in the flare if you are shooting moving objects? If so, is it a "mirror" image of what you are shooting? Is the color of the flare the same as the basic light source in the scene you were shooting? If you were shooting tungsten film with an 85 filter in daylight, the photographed scene would be color correct on the film, but the flare would be bluish if the flare were caused by a light leak in the camera. One needs to see the moving footage to help track this down. If you were using 35mm format lenses, you have to remember there is a larger image that is being projected into the cavity where the gate and shutter are. The unused image may have a point of light, such as one from a streetlight or from a much brighter source such as a portion of sky, focused on some thing that is shinny enough to bounce onto the film. Your flares seem to be constant from the top, which means as you look into the camera from the front lens opening, is on the bottom of the gate, which is closest to the mirror. It could be the outter mirror edge close to the front of the the mirror and mounting screw is catching brighter light and bouncing it onto the film. That portion of the open mirror should be flat black (I'm sure the tech has checked this by now). It should be all flat matte black with a "fuzzy" surface to help eliminate reflections, from the front of the mirror, where the screw that holds the mirror in place, all the way to the back in the cut out portion/opening in the mirror. There could be something reflective in the baffles surrounding the gate. I would suspect that something was done/happened during the conversion to S-16 also. Have you talked to Elvir at MPS? Best SR mechanical tech in town. Charlie

Check out these web sites of film collectors: 16mm film Talk this post about making copies film cleaning supplies Larry runs the Film Talk site. Film Center then go to the forum at the top of the page. or ask forum member Robert Houllahan. He works at a lab.

The 1st set of 35mm Zeiss Super Speeds T1.4 that came out in 1975/1976 came in B mount only - 18mm, 25mm, 35mm, 50mm, 85mm, 135mm. This was years before PL mount was adapted.

It's good to see you posting again John!

Tony, I remember you talking about this a couple of months back... still no fix on this problem? What does Arri say? How often does the "scratching" happen, and where on the film? Have you heard of other 235s with the problem? I?m sorry to hear you?re still having problems.

Zach, Check out this forum Film-Tech. These are the guys running the 35mm projectors in the theaters around the world. A vast amount of knowlege on 35mm projectors available. Free to join, then ask the forum, I'm sure there is someone there that can answer your question/knows your model of RCA projector.