Charlie Peich

Ivan, Your DA has the 'floating film guard rollers'. These were eliminated in the DL model onward. Are you threading your camera properly? I know it's a silly question, but one can make a mistake. The film should come off the feed reel, and then take-up on the take-up reel between those guards..... see pic below correct way.... This would be the wrong way...... floating film guard rollers - yellow arrows This is the difference between the film gate arm on your DA, and then how B&H changed it, possibly on later DAs and on the DL. DA (this is from a Filmo 70 A) DL....... Film gate arm with a 'Gate retaining stud' I ran film through both my cameras, applying pressure on the back of the film gate arm, where the cover would hit the arm....... I couldn't get it to slow down. In the early days of the 70 camera, B&H would hand fit the cover to the body, then put the serial number on the cover. This was to make sure the door would fit so there wasn't a problem with too much pressure on the Film gate arm, and that the cover seated properly. They then changed it to the use of the cam and the Gate retaining stud, easier to adjust. In the manual I have for the DA, it shows a parts illustration of the cover for the DA camera. They show the parts for the cam to be attached to the door. So, possibly, later DAs had the cam for the Film gate arm. I re-read your posts. You say the film doesn't jam with the door off, is that correct? Does the cover fit tightly before you turn the 2 latches to lock the cover on? The cover should just drop on without the use of any pressure to align it. Look at the back of the cover to see if there is a gap. This is my A, with the gate opened 1/16 of inch.... I could not turn the latches to lock it. I took the A door and put it on a DL, gate closed, no problem latching it closed. About turning the cover 'latches'..... without use, and over the years, they will freeze up, or become very hard to tun. Dirt and dried oil. They are hard to disassemble and you would need new parts to get them back together. Put a couple of drops of oil on the outside side (red arrows), on both latches, and start turning them open and closed, dozens of times! lol. Don't over oil, it will migrate to the inside! Keep working them until they become loose...... Always wipe up excess oil. Let me know.... Charlie

Ahhh, and early DA. I have to look to see if I have a DA, I think the oldest I have in the 'D' series is a DL. I have a B&H service manual that covers the DA, but I've have to read through it (don't have it scanned). Yes, the example I photographed in my 1st reply is a DR. But, let me ask this... Is the serial number on the cover (on the right side in your cover pic) the same as the serial number of your camera body? Let me know. A DL cover with the cam.

Greetings Ivan... Don't file anything down on your camera, filings may get into the mechanism. This may be the cause of your problem. The arrow in the picture of the inside of the camera cover points to a small cam. This cam has to fit next to the, as you described it, "I need to take a sliver off the lug that holds the slide that carries the film guide forward against the back of the film". Don't do that! The cam (# 25) fits behind the pin on the film gate arm. Gate open....... The gate closed. With the film gate arm closed, when you put the cover on, the cam should sit right behind the pin. See arrow. This is a 'saftey' mechanism so you don't forget to lock the gate into the closed position! The cover won't close unless the gate is closed. The cam should not put any pressure on the gate! If it is doing that, then loosen the screw holding the cam and adjust it. The cover should drop in place without anything binding it. From a repair manual...... para e. Gate Arm Eccentric Washer This adjustment works for all Filmos and Eyemos. Did you lubricate the shutter and shuttle cam? That's the oil hole on the front of the turret, the 'camera head' If you are careful, you can oil here also..... You can use this oil also, get it at a Hardware store, cheaper than amazon. http://www.amazon.com/ZOOM-SPOUT-ZS75A-Zoom-Spout-Lubricating-Oil/dp/B000HACY3Y Good luck! Charlie

George, The Cooke 18-100 does have a filter slot that accommodates 2 types of filter holders, gel filters or glass filters. The 2 types of holders I am most familiar with the 30.5mm glass filters and holder as I used that the most. Gels can be slow, and get messy when you are in a hurry! I have 2 glass filter holders so you could preload a 2nd filter pack to change filter requirements quickly. The glass filters were mounted in a metal ring that screwed into the holder. The Cooke glass filter holder With Filter Top view of holder w/o filters Holder with 2 filters screwed in In the States, the 30.5mm filters were sold through Les Zellan's ZGC. They were Tiffen filters that were ground down to fit the very thin metal rings that was required to fit into the opening on the 18-100. I believe you could buy the mounted filters through Tiffen also, but that was years ago. But, thanks to Ira Tiffen, I was able to acquire some blank metal rings from Tiffen so I could mount nets on them. They also ground down (thickness) a couple of specialty filters for me, one being a 1/2 value Enhancement filter. Not many shooters remember the Enhancement filter these days. One word of caution, while Cooke claims that "no degradation of optical performance or shift of back focus", I found that you had to be careful when using "effect" filters, not N.Ds, 85s, 85NDs, or EFs etc. With one filter on the holder no problem, but when you added the 2nd filter, well, sometimes there was a slight change on the focus scale. Different thickness of the glass filters, or the type of "effect" filter could cause slight changes. So, I'm not dissing Cooke, but it's the type of glass you put into the "optical path" that mucked things up. For table-top shooting, the rear filter holder in the 18-100 was a very welcome feature, no big matte box to hold 6.6 X 6.6 filters! This could lead to a debate, is an effect filter better in front of a variable focal length lens when the magnification is changing on the effect filter, or is it better in the optical path after the image has been formed, whether it's wide or tel? Film or digital, doesn't make a difference, in my opinion. The 20-100 has a Gel Filter holder as shown here Also, the 18-100 has a very nice look on both 35mm and 16mm. The close focus helps also. Charlie P.S. George, it's best to use your full name on the forum. Da rules.

Hans, Try this forum: http://16mmfilmtalk.com/ Search archives, or join and ask questions. Just recently: http://16mmfilmtalk.com/viewtopic.php?t=29008&highlight=holmes+type Charlie

Jeff, If you think the outer diameter of the front of the lens is a standard 80mm, then it sounds like you are getting a Zeiss Mk I 10-100mm T2 lens that was converted by the Optics conversion kit to a 12-120 in order to cover S-16mm. There are no threads for screwing shades or filters on to the front of the lens. It will only take a clamp on ring to told filters. There is no better way to "f" up a lens from the era this lens was made than to clamp, mount, screw something, hang anything off the front of these type of optics. They were never designed to do so. In the long/short run, doing so will destroy the mechanics. The Mk II lens had additional problems because of the weight of the larger front element that was added to eliminate the vignetting problem on the Mk I lens. Here's a link to a discussion about the 2 versions of this lens..... http://www.cinematography.com/index.php?showtopic=44963&hl=%2Bzeiss+%2B10-100mm+%2Bzoom&do=findComment&comment=318585 I understand the style of shooting you're doing, I would just be careful as to how much weight you add to the front of the lens. I think Zeiss fixed the problem when Arri offered the Zeiss S-16 11-110 version of the lens. Charlie.

Christopher, You can't easily change a 4 perf 435 camera to 3 perf. With the introduction of the 435 Advanced, you had the option of ordering the body from the factory in either 3 or 4 perf versions. One body wasn't able to both. So, If you had a 4 perf camera, you would have to purchase a 3 perf body if you wanted to shoot either 4 or 3 perf. I think Arri would take your 4 perf body and rebuild it to 3 perf, for a hefty fee. But, you couldn't switch back to 4 perf without going through the factory rebuild again=$$$$$. I don't see many 435 3 perf bodies for sale.... yet. Here's a good article on 3 perf: http://www.schumachercamera.com/tech_tip4.htm#aspect That's a terrific kit you are planning on getting! Charlie

Christopher, If you are going to make the investment in a 435, I would look for a 435 Advanced or Xtreme. The Advanced and Xtreme have the newer designed high performance shutter drive that cuts adjustment time in half, allowing for much quicker speed ramps and exposure changes. This is a big improvement from the ES. Also it has a new minimum frame rate of 0.01 fps. The Advanced and Xtreme also incorporate the Lens Data System in the lens mount. All depends how you are going to use it. http://www.arricsc.com/pdf/435_xtreme_brochure.pdf Charlie

Try these 2 forums. Film collectors and projector owners. You will have to join to post a question, but a lot of info. http://16mmfilmtalk.com/ Covers both 8mm and 16mm: http://8mmforum.film-tech.com/

Wesley, Check out this site of serious 16mm film collectors, plenty of guys restoring projectors..... there are some Ampro fans. Ampros were made in Chicago. http://16mmfilmtalk.com/

Printing-Nikkor lenses were very popular. http://savazzi.freehostia.com/download/manuals/Printing-Nikkor.pdf http://coinimaging.com/printing-nikkor_105.html http://homepage2.nifty.com/akiyanroom/redbook-e/repro/printing.html Charlie Peich

Hello Tony! Here is a link to the specs for the Pathé DS8/BTL Professional Reflex camera. The camera speeds and shutter openings are the same for the 16mm Professional Reflex version of the camera pictured. Shutter opening angle: variable and lockable at 180º, 135º, 90º, 45º and closed. As I recall, there was some "flicker" in the exposure as you closed the shutter past the 45º mark to the closed position. You would put the lever in the closed position when you back wound the film for double exposures. I think it was a 1/3 stop correction for the light loss from the pellicle mirror for the reflex viewing. Don't break the mirror! http://www.super8data.com/database/cameras_list/cameras_pathex/pathe_ds8-btl_pro(grey).htm You might be able to get a copy of the Professional Reflex camera (code- PA-2) here: http://www.mugjoint.com/media/manuals/manuals2.html I do have instructions for using the 8/80 motor as pictured on the camera at the above site. Let me know if you want a copy. Charlie

Greetings Gautam! The roll of film that was included with the Brownie camera you inherited is most likely a 25 ft long, 16mm wide film perforated for "regular or standard" 8mm format. When the film was exposed and processed, it was slit in half , spliced together to give you 50 ft of standard 8mm film. Please read this Wikipedia article, "Standard 8mm fim" . Yes, you can run the film through your 16mm camera (only one time), you just have an extra sprocket hole between the ones your 16mm camera uses. If you were to project your "double 8" film shot in a 16mm camera, you would have to be careful how you lined it up in the projector because of the extra sprocket holes. However, the 25ft 8mm spool you have will not work in the 16mm camera. Feed spool hole "side one" when loaded in the camera ............................................Take-up spool hole Better picture of the spool hole on the take-up side Comparison of the 25 ft 8mm spool and the 100 ft 16mm spool. Charlie

Exactly! Well said Dom. How else could we tell when the 50ft roll was half over?

When loading /unloading in a changing bag, does one close their eyes to help imagine being in a dark room feeling your way around, or does one keep their eyes open to take in the surrounding scenery and engage in conversations with your fellow crew members?

Hello again Giorgio! In another post you were looking for an instruction manual for your HR. If you don't have one yet, do you know the lubrication points for the HR? It is similar to the DR, but there are a couple more oil points on the HR you should know about. 1st, there are the 5 basic oil points that cover all Filmo 70's. I copied the oiling instructions from the manual.... Your HR has a port for the hand crank or the motor drive shaft, so you need to oil there.... Your HR should have the shutter stabilizer, so you need to oil it. This is often overlooked. I usually put 1 drop, but maybe since your camera has been idle, you might put 2 drops the 1st time. This is hidden under a lens on the lens turret. If you are adventurous, you can oil the shafts that the 2 sprockets sit on. Just be careful not to take the sprockets off the shafts!! If the sprockets come off the shaft, you have to re-time them. (I have the timing instructions if necessary) Do 1 sprocket at a time. The sprocket my rise up slightly because of the spring. Don't over oil! As Charles mentioned in his last post, let it sit overnight, this may help loosen the old oil. As for the tight cover latches, you could take the cover off and the turn the latches back and forth many times to see if they loosen up. The cause of the stiffness lies under parts 22 and 23 where the 2 parts 21BB (in the box at the upper left of the parts diagram) go through the cast door. It gets corroded after time, needs to be cleaned and a light grease applied. These parts are "staked" together by the pins on part 20AA. Once you take them apart, you'll need new ones to make it stay together. You would most likely ruin parts 22 & 23 prying them apart. The service manual warns.... Did you get your winding Key fixed? Charlie

Greetings Giorgio and Charles! In regards to the finder turret, I don't think it's bent. Charles, you may have forgotten about the parallax correction on the eyepiece. The picture you attached Giorgio is the position the finder turret would be in when the parallax adjustment on the eyepiece is set at 5 feet. Rotate the large knurled ring around the eyepiece to infinity..... and the finder turret should be parallel to the body. If it isn't, or you can't observe it moving when turning the ring, then yes, something is wrong with the finder. I attached a parts diagram of the finder for the 70HR..... The HR is a better choice over the DR, in my opinion. The HR has a shutter stabilizer added to it which helps reduce flicker. This was added to the HR shutter to help reduce flicker when the HR was being driven by a 24 fps sync motor and using 400 ft loads. Can you post a pic of your broken winding key? Charlie

Try contacting John Sprung through this forum. He has a couple of pre-war Arri 35s and is knowledgable on the early models. He hasn't posted for awhile.

It's an Eyemo conversion by John Russell

Sundar, Yes it's possible, but the technology is old. Go to this Yahoo Group about Auricon cameras, there's a group of die hards still doing it. You'll find manuals about optical recording with the Auricon camera and pictures of cameras and amplifiers. You may have to join the Group to access the files. Nice bunch of guys! How to use your Auricon 16mm Sound on film Recording Equipment Good luck! Charlie

Adam, Check out Taxi Driver. Shot with Arri 35 BL and Zeiss lenses. Look at driving shots at :52 and at 1:08 in this trailer. It goes by quick. If you watch the complete film, you'll spot more, but you have to focus on the bokeh in the shots, not the story. LOL. Very subtle. http://www.imdb.com/...y/vi2571475481/ A DVD or Blu-ray would be the better way to see them. Great film! Charlie

Better get a couple of 1000 ft or 1200ft (safer size to handle the 1000' roll) 35mm split reels. One of your rewinds should have a "tight wind" attachment on it and they should have drag adjustments. Winding the film too lose could cause "cinch marks" on the film before you expose it. Also, you don't want to put a loosely wound 400 ft roll in the camera, as it feeds out it could cause cinch marks when the film is pulled and tightens on the core, or torn sprockets when the lose, freely feeding film suddenly hits the proper tension applied by the feed spindle's clutch, especially if you're shooting high frame rates. Make sure to remove all the dust in the room you're doing this in. Charlie

Give Shurco Tool a call. Here's a list of Ground Glass Formats (courtesy of Stratton Camera) . They make GGs for Panavision, Mitchell and Arri. SHURCO TOOL COMPANY, INC. 744 EAST EDNA PLACE · COVINA, CALIFORNIA · 91723 (626) 966-8606 · FAX (626) 966-8608 E-MAIL shurcotool@aol.com

Greetings Erkan! I found a 1 sheet on the Uher Report - L in my files. It is dated 1967. I posted the front page below in low rez. The back side has a written description, specs and accessories. It would be better I send it to you in a higher rez scan as the type is very small. Do you want it? The Report-L was for radio stations and has no sync sound capabilities. I also found a couple of brochures for the Arrivox Tandberg if you would like them for your collection. I hope you weren't effected by the earth quakes. Regards, Charlie

Hello, It looks like it to me.......... not a Arri "factory" mount, but a copy. The Arri Bayonet and/or Arri B (the B for bayonet) -mount is the same. I think your question is, "Is this an Arri Standard mount or a Arri Bayonet / Arri B mount?" . Charlie