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Charlie Peich

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Everything posted by Charlie Peich

  1. Greetings Rudy.... Contact this forum member: Erkan Umut In this link: http://www.cinematography.com/index.php?showtopic=39649 he states.. I have one complete set of gray-colored Minette SIXTEEN editor with the Minette DELUXE manual-operated Rewinder, which is an excellent product. I also have a black-colored Minette EIGHT editor/viewer. SIXTEEN is very rare though! Try the Japanese auction sites with translation... He should be able to answer your questions about using your Minette and what bulb it takes. Possibly he has a manual. I've known Erkan for any years. He has amassed a vast collection of paper on cinemachinery. We have shared paper over the years. He's a great guy and is willing to pass on any info he has to forum members. ​I use a Moviscop and a Moviola M-50 for 16mm. Charlie
  2. The Panacam http://www.panavision.com/sites/default/files/docs/documentLibrary/1982%20Panavision%20Brochure.pdf https://digitalfilms.wordpress.com/2008/05/27/resolution-purists-and-the-real-world/ A.C. article: The video camera was made by CEI of video assist fame. https://www.questia.com/magazine/1P3-1504270481/panacam-reflex
  3. Hi Gregg... I don't have the exact time where that shot is located. I don't have a copy of the film. I had googled S.P.R. looking for 'effects' pics from the opening sequence. A page came up with a bunch of frame grabs, and that was one of the dozens or so pics in the search results. So, you'll have to watch the opening sequence again! Ok, I found the site where that frame grab came from. Read, or scroll down to the bottom of the page. There is a story about the 'streaking' effect under the pic. Interesting site. http://www.malcontent.com/done-with-flare/ Charlie
  4. Hello Dom! Thank you for the kind words! I believe the effect Phillipp was asking about is called 'streaking'. Here's a frame from Saving Private Ryan showing an example of streaking, one of the many in camera effects used in the opening. Created by an out of sync shutter, the hot spots streaking as the film is advanced. This effect can be achieved at any frame rate. You won't see this effect through the reflex viewfinder, only when the film is processed. Charlie
  5. Hello Phillipp! You are looking for the Arri Timing Shift Box. This 'box' was primarily for 35mm cameras, 435 Advanced, 435 Xtreme and the ArriCams. The nice thing with this box, you can adjust the amount of streaking while shooting. A description from an ArriCam brochure. 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. The Timing Shift Box has to be removed to attach or remove the Speed Control Box from the Studio camera. If a magazine is attached in back load position to the Studio camera, the magazine has to be removed before the Timing Shift Box can be attached or removed. Timing Shift Box, Manual Control Box and Speed Control Box can be used simultaneously. K2.54171.0 Timing Shift Box page 32. http://www.arrirental.com/pdf/arricam_systemguide.pdf ARRI Time Shift Box The Time Shifting Box is 435 Xtreme compatible accessory that alters the phase relationship of the mirror shutter to the movement, so that the film is exposed while being transported. Creating vertical streaking effects that can be adjusted from very faint to very strong, and the amount of jitter, a random fluctuation in the strength of the effect, can also be set to various degrees. http://www.aoassocies.com/wp-content/uploads/2011/02/arri_435_EXTREME_configuration_overview_en.pdf (Upper right side of chart) However, in this configuration chart of the last generation of Arri film cameras, it doesn't show the box in the 416 camera configurations. :( That is because the 416 shutter isn't an electronically controlled/adjustable variable shutter like in the 35mm cameras. You would have to have a tech physically un-time the shutter to get a streaking effect when shooting 16mm. Then you'd have 2 camera bodies. http://www.musitelli.com/site/files/ARRI_Camera_Configuration_Overview.pdf Shoot 35mm for the effects, or the entire film. Charlie
  6. Ryan, Welcome to the forum! The answer to your question is… 12 volts. A wee bit of history on the APEC metering on the 16S camera….. The APEC metering system was 1st introduced on the 16BL camera in 1970. The 16BL is a 12 volt camera. It was next built into the 16SR camera that was introduced in 1975. The 16SR is a 12 volt camera. In July of 1976, Arri announced the APEC for the 16S camera. It was around this time Arri was making the last “modernizations” on the 16S camera, to make the camera more adaptable to the newer accessories and production techniques. Arri changed the camera’s operating voltage to 12 volts because of their new ‘quartz’ drive motor they offered. Of course the old 8 volt torque motors for the 200ft and 400ft mags were also changed to operate on 12 volts (easy to modify if you have 8-volt torque motors in your collection). 12 volts seemed to be the new industry standard (the upcoming 35-III required 12 volts), and Arri wanted to rid themselves of the old 8 volt/16 volt operating voltage. This is an announcement article for the 16S APEC that was in an Arri USA “Arri News Update”. These updates would be sandwiched in the pages of “American Cinematographer”. 7/1976……. However, no voltage requirement stated. From an Arri Tech-Info brochure about Lens accessories for the 16S (or 16St) , there is a page showing the 16S with the APEC…. If you look at item 9-Power Cable, you’ll see that the cable is wired or has a plug for the battery to accept 12 volts. So, there you go, 12 volts for the APEC. (get item 10 – Adaptor plate, and item 11 – Bridge plate BP-3, and you have a very nice production camera!) I mentioned above about the 12 volt ‘quartz” motor. This is a description of the motor and a reference to the APEC….. The dial markings on the 16S APEC are similar to the markings on the 1st generation 16SR…… Finally, an ad for the 16BL announcing the new APEC…. If you look at the instructions for a 16SR, I feel you would understand how to operate your meter. I have not found any instructions for the 16S version. I didn't adapt my 16S for APEC, but I did update it for 12 volts. I hope your APEC is working! Charlie
  7. Bill, Try Brian Pritchard (read his posts) in this forum link: http://www.cinematography.com/index.php?showtopic=28315 He graciously offered to send scans.... http://www.brianpritchard.com/
  8. Hello Rafael! Yes, that is the right pitch for your Arri ST. The 400ft load should fit, if you have the 400ft magazine... Your 16ST will also accept 1R-2994 perfed film.... 'single perf'.... that is used for Super16 adapted cameras of today. However, before you use your time to shoot this 7254 film, you should find a lab that can process it. Dirk DeJonghe's caution (above post) is correct, 7254 was ECN-1 process and is not compatible with the current ECN-2 process. Let your lab know what film stock you have before you have them process it.... they might get pissed if you don't tell them how old this film is. ECN-2 process started with the successor to 7/5254 film, 7/5247 color neg film in 1974. Charlie
  9. 7254 was a camera neg stock. Introduced in 1968, discontinued in 1977. What is the perf pitch of the 7254 you have? 2R-2994 or 1R-2994 (short pitch) is typically used in 16mm cameras. Some high speed cameras may need .3000 pitch (long pitch) - check with manufacturer. Also, .3000 pitch is usually used for 16mm prints. http://www.motion.kodak.com/motion/About/Chronology_Of_Film/1960-1979/index.htm http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_newsletters_filmEss_11_Film_Specs.pdf Presently, Kodak offers 5254 (reused the old number) as a digital intermediate stock. 35mm only. http://motion.kodak.com/motion/Products/Lab_And_Post_Production/Intermediate_Films/VISION3_Color_Digital_Intermediate.htm
  10. Greetings Jay! Ed DiGiulio of Cinema Products did offer a 'Studio Rig" for the CP16R which he developed back in 1974. It included a base plate for rods and a matte box. I believe there was a follow focus and eyepiece extender in the package. Try finding that package now :P . DiGiulio developed this for a Wolper production of "CARL SANDBURG'S LINCOLN", a 6 hour series shot on 16mm film and aired in 1974. This was a big boost, or promotion, for the CP-16 & CP16R cameras for studio work. Howard Schwartz, A.S.C. was the Cinematographer using the 'famed newsreel camera'. I've seen pictures of the base plate and rods, and I know it was listed in the CP sales catalog for years. In the September 1974 issue of American Cinematographer, there are several articles with pictures about the production, one article writen by Schwartz. I've attached links to excerpts from 3 articles. You'll have to find the issues, or go to A.C. for a copy. https://www.questia.com/magazine/1P3-1320461931/the-eleventh-hour-delivery-of-the-two-modified-cp-16r https://www.questia.com/read/1P3-1320461911/behind-the-camera-on-the-lincoln-series https://www.questia.com/magazine/1P3-1307460871/what-s-new-in-products-services-and-literature Found a catalog on-line, it shows the studio rig... http://www.apecity.com/manuals/pdf/cp-16r_and_cp-16ra_brochure.pdf Maybe some of this info will help you design a sliding base plate and rods for your CP16R, but it's more historical I think. Charlie
  11. Greetings John! John, from looking at your frame grab, I can tell you were shooting with a 35-III version 3 camera. That was the last version of the 35-III. It was the 35-III that is guaranteed go to 130fps with out worrying about long- term damage to the motor’s armature cage under high centrifugal forces. Yes, the 2 horizontal light lines are a reflection from the 2 chrome bars on the pressure pad on the gate. The 35-III v3 was the only version that had the 2 chrome bars on the pressure plate. This model also had the ‘washboard’ film guide (aperture plate), and gate with the pressure pad. “Less obvious, there's also a series of smaller horizontal lines running along the whole right edge of the image. Again, these lines mirror the surface of the pressure plate.” Those lines are the edges of the ‘washboard’ gate. Arri had this to say about this design: ‘A fixed gap film channel keeps the film in an optimal position between the film gate and the film guide. The special finish of the filmgate guarantees minimum friction at all filming speeds.’ 35-III version 3 gate: ‘though are somewhat shiny on the pressure plate side, as they have similar "ridges" where it seems the black paint has rubbed off.’ The valleys between the raised ridges seem to be painted black, but I can’t see how the paint would have been removed or worn down, over cleaning possibly. Would need to see more pics of your gate/pressure pad or film guide showing the worn spots. However, your statement told me the cause of your problem right away..... (I’m surprised you didn’t pick up on this, Simon) "I'm also wondering if the lack of an anti-halation backing on the b&w film exacerbates the issue." I have to ask, light heartily, why were you shooting film with no anti-halation backing in an Arri 35-III? All the late model 35mm cameras, along with Arri, were cameras designed for film WITH anti-halation backing. They had shiny gates/pressure pads, or parts on the pressure pad that are shiny. Was there an effect you were trying to achieve because of the lack of the anti-halation layer? Usually, when shooting without the anti-halation backing, one would want the effect of the light bouncing off the shiny pressure plate back onto to film to create a 'halo effect' around the subject. I don't think there is a filter that can replicate that look. Did you shoot any film with anti-halation backing with this camera for your project? If so, was it ok? Anti-halation Backing: The anti-halation backing is the dark coating applied to the back of the base. It is there to prevent light from passing through the film, reflecting off of the pressure plate, and then passing through the film again, causing a flare or flash in the image or a double exposure. Kodak sez…. Light penetrating the emulsion of a film can reflect from the base-emulsion interface back into the emulsion, causing a secondary exposure around images of bright objects. This secondary image (halation) causes an undesirable reduction in the sharpness of the image and some light scattering. An antihalation layer, a dark coating on or in the film base, will absorb and minimize this reflection. In the mid 1990's, commercial shooters re-discovered Infrared film. While Infrared film (RIP Kodak Infrared film) had its own unique characteristics, it had 1 thing in common with your film, no Anti-Halation backing. Clairmont Camera met the demand for cameras that were able to handle Infrared film by making black pressure plates to solve the 'halation' problem. They wrote a Tech article about this for their site: There can be problems with certain cameras using infrared film. The black & white infrared film is very translucent and the color infrared film, though less translucent, is still a problem. Because of this, the camera must have a black pressure plate or the light will pass through the film and reflect back causing an exposure problem and making the photographic impression of the shiny bars on the pressure plate. Arriflex 2C's and Mitchell cameras do not have this problem since they do not have chrome pressure plates. All the modern cameras have chrome pressure plates. Clairmont Camera can provide black pressure plates for the Arri 435, Arri 3's, Moviecam and Eyemo cameras and we're working to get black pressure plates for all other cameras. http://www.clairmont.com/tech_tips/filming_ir.html A II-C pressure plate... As you can see the pressure plate is solid black, so no light would bounce back (Ok, there’s a small scratch in the black paint on this pressure plate, but this camera has only run film with Anti-halation backing. This is also a gate pic from an Arri II-A, but the II-C gate is the same). Or, you could remove the black paint and have a shiny pressure plate to create the halo effect. The fact that the metal tab on the G.G. is missing, is not good. Not only for light piping as Simon explained, but also for proper seating of the G.G. in the metal holder on the camera. The spring loaded retainer is set for the thickness of the metal plate with tab. Your G.G may not have been seated properly (effecting left to right composition). Remove the aperture plate/film guide, and you can gently push the defective G.G. out. Replace that or repair it. As for light coming from the lens and bouncing around causing reflections and fogging the film, my 1st thought would be from the ground glass surface facing the gate. Arri fought this problem since the inception of their spinning mirror shutter for reflex viewing. It has to do with the proximity of the G.G. to the aperture. The 35-III was the next generation from the 2-C, but the problem was still there, somewhat lessened, lack of 3 lens turret on the 2-C, but still a possibility. The 435 eliminated it, as did Arri’s 35 BL series of cameras. Arri solved this light scattering problem with ‘light baffles’ on the Arri I, II, II-A, II-B, II-C and 35-III. They claimed it eliminated the problem. Please take a moment to read this article linked here, page 105. It explains what is going on with the baffles.. middle of the page... http://https://books.google.com/books?id=18Ck5PZX_ZsC&pg=PA105&lpg=PA105&dq=arri+2-c+light+baffles+in+finder&source=bl&ots=uMRytKWX74&sig=tyNLSH5n7ecc-GPFzPMPjK7D6m0&hl=en&sa=X&ei=a02ZVaqnDsWuyASrzYH4Ag&ved=0CCsQ6AEwAw#v=onepage&q=arri%202-c%20light%20baffles%20in%20finder&f=false Up to the 2-C, there are 4 matte black baffles over the G.G….. (the next 2 pics show the baffles reflected into the closed shutter) The 35-III reduced it to 2 baffles (no G.G. in holder)..... But, some opertors hated the 4 baffles on the 2-C, and the 2 baffles on the 35-III…. a distraction for framing while shooting..... waaaaaah. With the rise in popularity of video assist, many questions were asked in video village by the client…’what are those 2 black lines for?? Will they be on my film??’ So, some people not understanding what the baffles were for, started pulling them off….’aaaaah, you don’t need them, they just get in the way’ .. etc. Well, they do prevent stray light from scattering and flashing the film. I never shot with a camera with them removed. There was always talk of…. ‘well, in certain conditions’. But no one ever listed those specific conditions. One was kept guessing. (to this day) John, did your 35-III camera have those 2 light baffles removed? If so, that could be part of the problem, especially in low light conditions. All the suggestions given by the other posters in this thread are great, and should be checked also. What you should do to trace this problem down is, get the camera and lens you used, recreate the set-up you originally shot with the same lighting and light levels, shoot it with the B&W film without Anti-halation backing and then shoot it with film with Anti-halation backing. Then compare the 2 films. After looking at your frame grab, I’m still leaning towards the B&W film with NO anti-halation backing as the problem. I would like to know what film you were using. And again, what look were you going for. I’m all for experimenting with different film stocks, love it, and I applaud your efforts going for a different look, I’m sorry you had a problem. Charlie P.S. There is another light reflection problem that has a name that I can’t recall. It’s where the light forming the image is reflected off the emulsion back onto the rear element of a fast lens (large rear element) that is close to the aperture, it is then reflected off that rear element back onto the film causing a superimposed ghost image around the original image. Anyone ever hear of that? I think it was Panavision that discovered that phenomena.
  12. Greetings Simon! It's been awhile since we talked about Bell & Howell's early years. I know I referenced the Robinson book a bit, but a few months ago I found another "history of Bell & Howell" article that goes into more detail about the early years of the company. This 2 part article was published in a respected motion picture technology Journal in 1982 (the year of the 75th anniversary of B&H). There may be more info in it to answer some of your questions, for instance, they mention the then popular 'Eberhard Schneider perforators'. They discus the 2709 camera. There is a list of references at the end of the article. There may be other patent numbers for you. The 2nd article discuses the Eyemo's history. Both are good articles, but they may not answer all your questions, nobody left alive to tell the tail! I think you'll enjoy reading it. Please, via privet messaging, send me an address that I can send these scans to. The 1st article is 14 pages. However, you may have seen this already. Regards, Charlie
  13. This is a nice feature on the LPC controller, being able to read the EV number during the shoot. The Arri system does not offer that. As long as you have power applied to the meter, you can use the spot meter as it was originally designed by using the calculator wheel on the side of the meter. This would be hard to do if you scout the location the day before as you would have to carry a lot of equipment to power the Norris modified spot meter. A 2nd spot meter (not necessarily a Pentax) would be helpful in this case. Once you've entered the light reading and started the time lapse, you don't want to be fiddling with the meter, adjusting the calculator dial and looking through it, you might disturb the spot from the original spot it was aimed, also you might be caught during the next exposure on the camera. My feeling and practice on using the meter was, set the meter, lock it off, cover the eyepiece, and leave it alone. From page 5 of the instructions: A cap or cover should always be used after you set the meter when using in low or high light levels. You never know when a stray refection, light from a flashlight or a work light at night could hit it just before or during an exposure. Just a precaution, as you won't know until you see the processed film. Gareth, you said you weren't sure your meter was still functioning because when you received it, there were batteries in the spot meter's battery compartment. Reading page 5 of the Norris instructions, Dan does warn about using the 3 batteries. There's one simple way to check your meter without having to plug it into the LPC controller. You'll need the 3 recommended batteries that would normally be used for the meter, this is the current replacement number I found: Get the 3 batteries (about $10 -12 U.S.), get a second meter you know that is working and calibrated (preferably another spot meter, but you could do this with an incident meter and a gray card). Again, without any cable plugged into the meter, observing the polarity markings for the batteries, put the batteries into the base, screw the cap down, the meter is then activated as if you were pushing the trigger on the front. Take a look through the eyepiece and observe if the meter is moving as you point it at different objects. Check the battery reading (read the Pentax instructions, link below) by pushing the "B" button just above the trigger. If the meter is moving, then it's working so far, then take a reading, using the calculator dial on the side of the Pentax, see if the calculated exposure matches your other meter. The down side, the Norris modified Pentax meter is wired in the activated position, so it's eating the batteries while the batteries are in the meter. You'll have to take them out so you can use them again. You'll be out the cost of the batteries, but you'll find out if the meter is functioning or not. Do you have an instruction manual for the Pentax? Dan's modification didn't change the meter's reading ability, so the meter should operate as it was designed. Instruction manual for Pentax Spot meter V: http://www.cameramanuals.org/flashes_meters/pentax_spotmeter_v.pdf Sites showing how to open the meter and repairs........ (good luck!) http://www.instructables.com/id/Pentax-Spotmeter-V-Repair/ http://www.sefcik.com/2015/03/asahi-pentax-spotmeter-v-repair.html Dan did a very careful job when modifying the meter, can't tell that it was opened. As for this statement....... I looked at the Norris modified Pentax meter as a device that measured the changes of the light level on a selected spot, any changes in that level would then be used to adjust and match the exposure time to the reading I gave the controller when I started the camera. I did not use it to calculate the 'F' stop. I always used other meters to calculate the F stop using the pre selected exposure time ( 1/8, 1/4, 1/2, 1 second, etc) and filter factors (if any used), also personal judgement. To confuse you even more, the Arri system also adjusted the mirrored shutter opening, 180 degrees open down to a narrow 11.5 degrees closed. You could handle your complete light level change just by changing the shutter angle and keeping your camera exposure time at one constant value, say 1/4 of a second. This is different from the Norris system. With the Arri system, you could reach a max exposure time of 1/128th (use less filtration?), Dan's motors only went to 1/16th. Endless possibilities to the subject you want to time lapse. Did your spotmeter come with the nice case that has the Norris logo on it? Charlie
  14. Gareth, a question for you...... in your photo you posted showing the SCC 300 and the LPC 90 controllers together you said "LPC-90 controller top and the SC-300 one bottom." Did you get that reversed? The bottom controller (with the arrow) sure looks like the LPC 90 controller you showed in your photo of the controller and the spotmeter you posted later. SCC-300 controller: The Lemo socket in your photo on the SCC 300 controller may be, in my opinion, an accessory port to possibly remotely trigger the camera. Its proximity is close to the trigger button on the top. In the older brochure I posted above, in the picture of the Bolex with the motor and controller, the right side of the controller does not have this socket. But, in the later picture of the controller on your site, it shows the socket (red arrows). I don't think this is a power input, the plug seems too small compared to the LCP 90 controller's power in-put socket. In the 'Single Frame System' description on page 3 of the brochure I posted above, the last paragraph, it talks about synchronizing up to 10 cameras. I think that socket is for that use. You know that the SCC gets its power through the interconnecting cable to the motor. The battery power plugs into the motor via a 4 pin female pug. What cables do you have for your Norris equipment? Do you have the coiled cable that goes from the SCC 300 to the camera? Do you have a power cable? The older picture shows the camera set up with the cables. Battery connection is with the industry standard "XLR" type 4-pin male receptacle, and with the industry standard polarity of pin 1 negative ( - ) and pin 4 positive ( + ) for 12 volt power supplies. This should be the same connector as the cable for your Tobin Motor, the same pin 1 and pin 4 for 12 volts. Example: Neutrik XLR 4 Pin Female Connector | NC4FX You will also note in the Bolex description above in the older brochure, it says: Note: the 1/16 shutter speed requires at least 16 VDC, or more. LPC 90: I can't tell what the Lemo plug number is for the LPC 90 is, I've no experience with that size of connector. You could try a pro camera rental/sales house, they might have someone who would know how to look it up. As for the polarity, you could open the controller and look at the wiring, you might find a number for the socket also, or use a VOM to check for ground. Dan made the LPC controller to be powered by a separate battery, and the motor by a 2nd battery. However, in his instructions on page 1, he talks about a "Y" cable to run both off a single battery. Depending on how long your system would be running for your 'time lapse', it would be desirable to have the controller and the motor on seperate batteries for the longer run to extend battery life. Good call on Dan's part. I'm sure the LPC 90 control draws a lot more power than the SCC 300. There was some talk of power issues with the Norris units: http://www.cinematography.net/edited-pages/TIMELAPS.HTM "Get a Really good Power supply, or LOTS of Battery Power."..... Steven Gladstone or (3rd message from the bottom) "Gee, I've heard of some flakey things....." and https://books.google.com/books?id=lzSKck6vvr0C&pg=PA439&lpg=PA439&dq=norris+intervalometer+bolex&source=bl&ots=lBrxh6kwZt&sig=DkK2KGMoIAPyg0Vn-c9Z61TSQBU&hl=en&sa=X&ei=YbkuVZXSEImpyATL7IGwCA&ved=0CDMQ6AEwBQ#v=onepage&q=norris%20intervalometer%20bolex&f=false page 437 : "They also were very sensitive to voltage shifts." I don't know if Dan supplied cables with his equipment, or if it was up to you to make the cables. There's nothing in the literature that mentions power cables. Possibly you were able to buy cables from him once your system was figured out. Possibly he only supplied the interconnecting cable from the controller to the motor, then it was up to you to supply the power cables. What batteries will you be using? What cables do you have for the LPC 90 unit? I know you don't have the controller power cable, but did you get the interconnecting cable and power cable for the motor? When using this stuff professionally, you would have at least 2 sets of each cable incase of unpredictable failure, you don't want the shoot to shut down because of a bad cable and you are far away from home :-( Connectors, wire and batteries can cost a lot! More on the Pentax meter in next post.......
  15. Greetings Gareth! I'll answer your last question1st, no, I do not own a LPC 90. I have never owned any of Dan Norris's motors and controllers, nor have I had the pleasure of using them. After meeting Dan in the early 90's at a Film Gear convention and having several phone conversations with him, I did end up buying his converted Pentax Spotmeter in order to use on the Arriflex 435 camera with Arri's 435 Single Frame System, Integrated Capping Shutter and Intervalometer. The 435 has a digital controlled motor, so no additional external motor is required to operat it for single frame use. Dan did not offer any support for this model Arri camera, except for his modified spot meter. Re-read the Clairmont article I posted previously in this thread. I did get the cable to connect the meter to the Arri controller from Arri, Dan did not offer that. That's how I acquired the schematic for the cable I posted. Here is a link to a copy of the Arri instructions for their single frame system: http://www.aoassocies.com/wp-content/uploads/2011/02/arri_ICS1_SFHC1_usermanual_en.pdf Go to page 44 for instructions on using Dan's meter. There is a paragraph explaining the voltage and the how the change in voltage effects exposure. This is the same for the LPC 90 system. Arri does mention Norris and Arri's cable that is required. Arri also warns about "reciprocity behavior" of film for exposure times over 1 second. The meter works the same for both the LPC 90 and the Arri system, it reads the changes in the light level of the spot it is aimed at. You did a terrific job re-creating the last Norris web site. I discovered a printed copy I had made of the LPC 90's instructions downloaded from the site before it went down. That site was mostly a copy of the last sales brochure Dan made (I have a copy). I have a copy of an earlier sales brochure, and possibly some answers to your questions about the equipment you have. This brochure is pre LPC 90 sales, he mentions the Academy Award, but there is no mention yet of the LPC 90 in the brochure, so this must be from around 1989. There are accessories he offered then that weren't shown in the brochure, and on the price list, on the web site you recreated. continued next post.....
  16. Gareth, Did you get a set of 'Norris' instructions for the LPC 90 when you acquired your LPC 90 and Pentax meter? I think the probability that the batteries in your meter may have hurt the meter are very low. I had a Pentax V meter converted by Dan. Actually we swapped meters, mine was new, never used, and he sent me a meter he had already converted (yes, there was an additional fee for the conversation labor) in order to get me the converted Pentax meter quickly. Dan told me that with his conversion, the meter was permanently activated (the trigger switch was also bypassed). He said the meter would not be able to work without it being connected to the LPC control box, as the power came from there. But, you already know that. A wiring schematic for the socket on the Norris modified Pentax meter.... Using the schematic of the Lemo socket on the meter, I did a continuity check from the positive contact in the battery compartment of the meter to pin 1. It was a continuous reading, so, the meter's positive battery circuit is still applied to the power from the LPC. Not knowing how Dan wired his modification, it is hard to say where he connected his wires. I do know that when connected to the controller, the meter's internal light still works when the white button is pushed, the meter is constantly activated, so if batteries were inserted into the meter, they would run down quickly. Seems to me if the additional voltage from the meter's internal batteries would cause problems, there would have been a strong warning about this in the instructions. BTW, the Pentax V spotmeter was the last spotmeter made that was analog, that's why it was desirable for the Norris system. As for the Lemo connectors and plugs... "The red mark is usually positive, but not 100% of the time, so that might be worth more research." The red marks on the Lemo plug and sockets is used as a quick way to visually line up the keyways on the plug and the fixed socket/receptacle. It does not indicate the positive side of power cables. You would still need the schematics to see how the pins are wired in relationship to the keyway, reference the schematic above. The article that you mentioned in your 1st post...... "I read an article back then on the web by Wayne G Goldman about shooting time-lapse sequences on 35mm for the film 'Nixon' for Oliver Stone and how the sequences controlled by the LPC-90 were always the most visually dynamic of any time-lapse kit he'd ever shot with." is titled "A Time Lapse Primer" by Wayne Goldwyn, SOC and was published in the 1996-97 fall/winter issue of "The Operating Cameraman", the Society of Operating Cameramen's magazine. In this article Wayne writes of his use of the then 'prototype' LPC 90 designed/invented by Dan Norris. There is an ad for Wayne Goldwyn on page 12 of the 1996-97 issue. A quick search shows that the phone number in the ad is still registered to Wayne. No email address however. I think you would get all your answers about Dan Norris and the LPC 90 from Wayne "Mr Timelapse". Give him a call! http://www.soc.org/memberMedia/soc_co_1996-97fallwinter.pdf A 2nd article about timelapse, by Wayne, is in the below issue. In the photos you'll see that he is using the Pentax and LPC 90 on this shoot. I like his use of the long 'snoot' on the meter to eliminate extraneous light from hitting the meter's sensor. http://www.soc.org/mags/soc_co_1999julydecOPT.pdf Additional Timelapse discussions on "Cinematography Mailing List" http://www.cinematography.net/edited-pages/TIMELAPS.HTM LPC 90 instructions written by a LPC 90 user I found years ago from a now defunct site: Charlie
  17. Gareth and Bruce, I'm not sure what happened to Norris either. I had contact with Dan in the early 2000s when he did some work for me, then that was it. A place you could try to find info you are seeking is at Clairmont Camera in Hollywood. http://www.clairmont.com/contact/locations_hol.html Clairmont's present day website still lists the Norris system for a Arri 35-3 and Mitchell 35NC. Clairmont may know what happened with the Norris company, Dan Norris and family. They may have additional paper on the connections on the motors and controllers. A page from Clairmont that I attached mentions they made cables for Norris equipment. It might take several tries to find the right person, but I know from personal experience that Alan Albert and Denny Clairmont are very approachable, and will share any info they may have. While 'Clairmont Camera' may not do the work on Norris gear, some of their techs take side jobs and may be able to help. A great company. Gareth, do you have the Pentax Spot Meter with your LPC 90? Charlie
  18. Cole, Take a look at this Mitchell site, you might find an answer to your question. Check out the forums for interesting production and camera photos. http://www.MitchellCamera.com/
  19. I believe Dom is referring to the upper loop size. That loop should be 15 perfs.
  20. Sultan, I agree with what Dom says on this. Is your loop size correct? It is important to maintain proper loop size: 54 perforations for both the 400 ft and the 200ft magazines. What size mag were you using, 200 ft or 400 ft? If it's the 400 ft size, which mag do you have, the 35-II B mag with the belt drive on the mag, or the later 35-II C / 35-3 (called the 480ft Color magazine) version with the gear drive? If you have a 400 ft 35-II B mag, the cloth belt acts as the clutch, it is easily adjustable, but I doubt it would have enough torque to pull the film and strip the perfs. If the tension is too tight, you would hear a 'clicking' or buzzing sound from the film when the camera is running. Usually the cloth belts got loose, and wouldn't take up tightly. At least that was my experience with the mag. 35-II B mag, 54 perf loop take-up cover removed The yellow arrow points to the adjustment spring thats puts tension on the take-up belt. You can use either of the 2 posts to increase or decrease tension. Read pages 42 through 51 of the repair manual I sent you! A tension gauge is recommended to adjust properly, page 48 of the manual. If you need a new belt, I don't know where you would find one. Arri stopped supplying those decades ago. It would be easier to get a 35-II C mag with the gear drive than to find a belt. (UNLESS, Dom has some in his parts drawer) (I do have some new/old stock 200 ft belts). The thing is, with the gear drive magazines, you then have to deal with the felt clutches... another story. Charlie (Greetings Dom!)
  21. Hello Sultan! I don't have the IIB instruction manual, but I do have the 1st sales brochure for the IIB (see page 1 below) when the camera was 1st introduced 5/1958. I also have a nice review of the camera from a popular cinematography magazine dated 7/1959. Both pieces outline the features of the, then, new version of the 35-II camera. There's also some history of the Arri 35 cameras up to 1958. If you are interested, p.m. me an e-mail address to send them to, too big of files to post here. Charlie
  22. Continued.... I can't answer your question asking about the type of sync motor this is, 'Delta' or 'Wye' three phase motor? I don't have that knowledge, so I can't say. But, my curiosity got the best of me and I opened the power supply to see what's going on with this set. I do believe the 3 phases are created with 2 windings on the step-down transformer and a 1000 uf electrolytic capacitor rated at 15/18 volts. Inside the power supply I found 3 large caps, one being the one I just mentioned, and the other 2 are for the d.c. rectifier for the 8.4 volts d.c., and the dynamic braking. Those 2 caps are: 40 uf +/- 10% (m) 250v /125v ~ 50Hz. But my motor says 60 Hz?? I did some searching and found a bit of info at Duall Camera, N.Y. about these motors. I believe Arri made only one sync motor, then put different housings on them, one saying 50 ~ / 42 Volts the other 60 ~ / 42 Volts. When 50 Hz current is applied to the motor, it turns at 3000 rpm. Put 60 Hz to it, it runs at 3600 rpm. So Arri made a step down gear set with a ratio of 24:48 for the motor marked 50 ~ / 42 Volts to reduce the rpm to drive the camera at 24 fps. They had a gear set with a ratio of 24:60 to use with the motor that was getting 60 Hz to drive the camera at 24 fps. These gears are in the part of the motor that is inserted into the camera. Looking at a sync motor, you can see the motor shaft, inching knob on the left, is off set from the shaft that drives the camera, it's not a straight line. The speed of the motor is marked on the front. My motor is 60 Hz 42 volts 24fps This is a motor labeled at 50 Hz with a gear set of 25/50 to drive the camera at 25 fps. You could run the motor on 60 Hz current, but it would drive the camera faster than 25 fps because of the gear ratio. David, you said you saw the gear set, and thought that it might be driving it at '23.976 for recording NTSC systems?' I doubt it. These motors were designed in the late 50s, early 60s. Filming of NTSC systems, in 60 Hz land, was worked out to 24 fps with a 144 degree shutter, not a 145 degree shutter, nor a 143.5 degree shutter, but 144 worked. Of course, you would be filming only 1 of the 2 scans of the 2 scan video frames, so the video picture looked softer. The 23.976 came much later with crystal controlled cameras with 180 degree single opening shutters. That's a whole different discussion. But, the best way to check the speed of your motor and gear set, when you get your motor with the phase shift unit running, is with a cine-strobe on the shutter, or with a flicker meter. Looking at the 'specifications' badge on the side of the power supply case, I discovered several things..... The power supply works with a mains voltage from 110 - 240 volts. A switch is provided to select the input voltage. Mine is set at 110 volts. The power supply works with a mains frequency from 50 Hz to 60 Hz. Does that mean one supply will work with either the 50 Hz motor or the 60 Hz motor? Seems to me that it does. I did see a cap in side that was rated at 50Hz. That would make looking for a power supply for your motor easier. But the interesting spec was the 8 - 21 V. It does make the 8.4 volts d.c., but I thought it was 42 volts for the motor. Inside the power supply on the relay side. You can see the 2 large 40uf caps for the dynamic braking....... It is very difficult to trace the wires because of all the switching through the relays and the reversing switch. One really needs the schematic. I didn't want to disassemble it because it still works. Nicely constructed however. This unit was made in the mid 1960s. The transformer side.... The back side showing the wires for the windings and the 3rd electrolytic cap (gray arrow lower left)... The yellow wires on the left side of the transformer are for the different input voltages. The transformer is a multiple winding transformer with 3 secondaries. The top 2 lugs are for the 8 volt d.c. current, then the bottom 4 are 2 - 21 volt supplies. I read the output windings without a load on them. They were a little higher readings than the ratings, but my mains input was about 12 volts higher than the 110 input I had it set for on the trans. How does it get the 3 phases? The 21 volt secondaries provide 2, one winding is the mains frequency, the 2nd winding is 120 degrees different because of the way its wound in the transformer (you'll have to read about transformers and multiple windings), and the 3rd phase is created with the 1000 uf cap. Here are the readings I got at the power supply while the motor was running..... (I uncovered the connector to expose the 6 pins) Between pin 3 and 4, 42 volts, Between pin 4 and 5 42 volts. Pin 4 I traced back to the 1000 uf cap's + side. I can't explain how it works ! You'll need someone familiar with sync motors, maybe someone on the forum reading this has an answer. I also can't say how the motor gets the boost to make it turn. At 1st I thought it had something to do with the relays, but when the 8 volts is applied to them, they both close at the same time. When the 8 volts is cut (camera switch), the top relay closes right away, the bottom relay is timed, and closes about a second later. During that time, the d.c. voltage is applied to the motor to stop it. Very clever. I found this set on E-bay, you could get it for the power supply to drive your motor. lol http://www.ebay.com/itm/ARRIFLEX-16-SYNCHRONOUS-MOTOR-POWER-SUPPLY-NEW-ARRI-KIT-/111503134965 I've seen a lot of Arri S cameras for sale with the sync motor attached, with the 6 pin connector, but there was never the power supply included in the kit. Where did all those power supplies go? Amazingly, my motor still works, d.c. braking also. It shouldn't, but it does. However, I can't control it with my iPhone. Possibly Clive Tobin is still reading the forum. I would bet he would know about the wiring. I bought one of his TMX-22 sync motors to back-up this motor. lol.
  23. David, I have some additional info for you about this Arri 24 fps sync motor set (Motor and Power Supply). First, I don't have a schematic drawing of the power supply. I wish I did, I'd like to see how they achieved the 3 phase, and the 42 volts for the synchronous motor. Also to see how they switch in the DC voltage for the Dynamic Braking. I don't know where one would be available, other than at the manufacturer in Germany. However, some things were easy to trace, and I was able to get some voltage readings at the power supply that may help solve the 3 phase mystery. From the looks of your pictures, and with the casing removed ( blue arrow), you have the "special sync motor modified for interchangeable geared heads to change the speed from 24 fps to 30fps" that I mentioned in my last post. It also looks like your motor was set up to use on a "S" model camera by the pigtail lead (yellow arrow) that plugs into the camera's battery port. Your motor with attached phase shift attachment was probably used on a S camera that had the shutter changed to 144 degrees for kinescope filming. If your motor was used on a "M' camera, the pigtail would have a Cannon plug to plug into the battery port on the camera. That way you could use the camera's on/off switch to turn on the a.c. sync motor. It looks like this on S camera...... This camera has an extension pigtail added because the motor is set back further (yellow arrows). You could make an extension with a Cannon plug for your M and connect the extension wire to the + pin. close-up of the battery port on the S camera with the pigtail lead plugged into the + pin With no motor in your camera, look at the back of your camera and into the motor cavity. At about the 6:30 position you'll see a flat copper leaf spring. That's the 8 volt positive supply that runs to your d.c. motor, such as the 'wild motor'. The camera body is the ground side (blue arrow). The silver end of the motor is the ground on the motor. On the front of the 'casing' in your pic, there is a 8 volt contact point that lines up with the spring in the camera. (red arrow) (yours looks like it could use some cleaning :P ) Then the voltage travels through the 'casing' to a contact point on the front of the motor. In your pic, that point would be on the face plate, below the red arrow. I can't see it because the drive shaft is blocking it. Looking in the casing (by the blue arrow) you should see something that makes contact with the contact on the motor. Of course, all the locating pins must be lined up. That contact point (the one we can't see) on the front of the motor takes the 8 volt circuit to the multi-strand cable coming out of the back of the motor, then back to the power supply. To answer your question about the 4 wires coming out of your motor: "inside the motor, I see 4 wires going into the windings but industial 3-phase motors only have 3 wires plus chassy ground - is this motor not a regular 'Delta' or 'Wye' three phase motor?" This is my motor with the cover off. The red wire you see is the wire for the 8 volt return to the power supply. It is just passing through the motor. It is not connected to the motor's windings. The 3 yellow wires are for the windings in the motor. The red wire goes to the terminal block, then exits on the blue wire (blue arrow) and connects to pin # 6 on the 6 pin connector (good luck trying to find those ancient 6 pin connectors). The black wire (yellow arrow) is the chassis ground wire, also the ground for the 8 volt torque motor on the S camera via the camera housing and the ground contacts on the motor. Put the phase shift casing back on the motor, and with your VOM, you can check the continuity by putting one lead on pin 6 of the plug, and the other lead on the contact point on the front of the phase shift unit. You should get a complete circuit. The diagram for the pins on the connector.... Continued in next post............ (too many pics)
  24. Rank also sold the Pan Cinor 17-85 in 1970. Does one of your Reflex 17-85's look like the one that is mounted on the Auricon Cine-Voice conversion in the top picture? The finder was not a good design, too fragil for news work. I worked at a TV Station that had 2 of those 17-85's with the finder as in the picture. With rough handling, the finder tube going back to the operator's eye would snap off (red oval) from the tube (blue arrow) coming out of the lens (never on my camera, however). Be careful handling your lens! That finder extension tube is not a handle! We used our lenses on Auricons, I recall you could get the lens with different lengths of the tube (blue arrow) coming off the lens to fit cameras that had more separation between the lens mount and the side of the camera. The lens had a nice look for flesh tones when photographed on Ektachrome 7242. There was a softness to the lens that was also pleasing, kind of like a built-in low power Soft-Efx filter. Good for talking heads. Early 16mm Pan-Cinor zoom lenses looked like the one mounted on the the Arri 16S camera. Of course this is not the reflex version with the side finder, but you can get an idea of the specs of the lens and the chrome finish instead of the later black finish. An article on the Ang. 16-68mm lens when it was 1st introduced by Bell & Howell in the early part of 1958. FYI.
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