Charlie Peich

Kristian, Does this look like your 80fps 2C? Hal Smith made a good point about the different motors. However, the picture shows that the 80-fps motor has a different cable connector than the standard 16 volt variable speed motor. Make sure your 30-32 volt supply can handle a high current draw, as that may be the reason you couldn't get much higher than 50-fps at 30 volts. Another thing to consider is, the motor may need a cleaning / lube of the bearings and possibly new brushes. Let us know if you can get it running at 80-fps. Charlie Other 2C models:

Try Cine 60. I believe they still make/sell the 2 pin cable you need for 2C motors. Charlie

The variable and constant speed motors for the 2C required 16 volts. Catalog lists the High Speed Motor at 32 volts. Charlie

Mike Nichols' Catch 22 has a 1000 ft opening shot. IMDB: The film has one of the longest, most complex uninterrupted scenes ever made. In the scene, where two actors talking against a background, 16 of the 17 planes, four groups of four aircraft, took off at the same time. As the scene progresses, the actors entered a building and the same planes were seen through the window, climbing into formation. The problem was, for every take, the production manager has to call the planes back and made to take off again for every take of the particular scene. This was done four times.

M-50 Film flow from left to right, sprocket teeth in rear M-50-L Film flow from left to right, sprocket teeth in front M-50-R Film flow from right to left, sprocket teeth could be either front or rear Not too many M-50-Rs out there, as that direction of film travel for editing wasn't too popular. Special order viewer. M-50, M-50-L in 1985 was $781, the R model was $900.

Patrick, another "field technique" you could try. I just tried this (haven't done this in years) with my single lens eyemo with 50mm Miltar lens, focus set at 2 1/2 ft.. I've done this with 16mm cameras before. When your camera is mounted with the lens of your choice and pointing at desired surface (light color or white), take the door off, open the lens, shutter and gate. No film in gate. Darken room. Take a small mag light, like one you'd use to check the gate, focus it to the brightest intensity, and shine it at the aperture. Put it right next to the gate, right on the narrow "slot" where you drop the film in. Don't let any light spill onto your surface. Aim the light towards the aperture's opening. Move the light around the opening. What you will see "projected" on the surface is the image of the camera's aperture "opening". Moving the light around will show all sides/edges. You won't be able to light the whole opening at once. You can focus the lens on the edges of the opening, the edge or side where the film rests. Trace the projected edges on your table top, this will be your "field" that will be recorded on the film, unless you bump or move the camera after doing this! Check your lens's focusing scale while your at it. It's harder on wide lenses such as 25mm, but it'll still work. Let me know if this helps or works for you. Charlie

Hey Patrick, Here's a trick Bell & Howell had for precision alignment... :P

Steve, The black bar between the sprocket holes on the Filmo was made by a camera part at the camera's gate. The curved masked area where your arrow points to was made by the aperature on the magazine. You need to look at a mag to see the opening. I doubt a newer chart exists. You would have to look at the gates of any cartridge load amateur cameras available at the time. Some 50's - 60's 16mm cart load cameras: Cine-Kodak Royal Keystone K-50, K-55 Mayfair Revere Magazine 16 C-34 Look through this site Cine Cameras. Are the films you have "home movies". Do you know who shot them? Just curious, but why do you want to know which camera was used? Charlie

Steve, Both of those cameras used 16mm 50ft daylight load magazines. It is obvious by the shape of the mask where your arrows point. That mask is the shape of the magazine's aperature, that is why it looks the same on both clips. The film on the left was shot with a Bell & Howell mag load camera something along the lines of these from the 50's / 60's: The black bar between the sprocket holes is Bell & Howell's mark to identify the camera model. I have several 200ee cameras that look the same. All 16mm cameras had an identifying mark around their aperture to I.D. them. Here's an old chart, but you'll get the idea. Look in the 1st column, go down to the "Bell-Howell Filmo 141-153" frame. That is the model of the 1st mag load cameras from B&H, the forerunners of the models pictured above. Then look at the 3rd column and go to the "Cine Kodak Magazine" frame.... similar shape, no? Not sure of the camera used to expose the film on the right, as I couldn't locate a 60's chart, the above chart is from the mid 40's! Hope that helps! Charlie

Hey Tim, Burum doesn't mention what cameras he used in the article. 2 production shots show a 35BL and I think it's the III, as that was the newest version of the BL available in '83. He mentions focal lengths of lens he used, but no brand. The only one you can figure which brand of lens it is, is the 9.8. He talks about hand held shots. I would assume they were done with the BL, as that camera had a decent video tap, and Coppola like his video assist. Also, the BL with a prime lens and 400 ft mag is good for shooting hand held, plus it's quit for sync, even if they did end up looping it. We need to talk to Hiller! Burum also mentions some time lapse shots, but "we brought in someone to take care of it". Check your web site e-mail. Charlie

Hi Tim! Let me add some a little info on Rumble Fish. 2 Chicago cameramen worked on the film, Steven Hiller and Ted Bokhof. Steve was 2nd A.C., I believe it was the 2nd major film he worked on. A long time friend, he worked with me as 1st A.C. in Chicago. He moved up the ranks and worked as a 1st on features for a long time. He's now operating. Steve is still based in Chicagoland and travels back and forth to LA. I haven't talked to him for a year, but I'm sure he attends many Fletcher seminars. Look him up and pick his brain on Rumble Fish. Ted Bokhof was operator. Ted is a excellent D.P. that was shooting commercials in Chicago at the time. Ted goes way back and was partnered with Steven Poster in a production company call Fire Escape Films. The company folded and I believe that was when Steven Poster moved west. DP's on commercials usually operated, and Ted is one of the best. For reasons only known to Ted, he wasn't comfortable using "wheels", so he usually used the fluid heads. Ted operated all of Rumble Fish on the newly introduced Sachtler 7+7 head, somewhat uncommon at the time. There is a picture in the AC article with Burum standing next to the BL siting atop the Sachtler. The 7+7 was the hot, must have, I can't work without one, head at that time, NOTHING could be shot any more without it, period! So, I bought one because of Ted. I believe Ted is retired now. Sorry I can't add any more info about the "negative". I do have the AC issue. Regards, Charlie

Joe, The older/smaller 25-250 was a f/3.2 T3.9, not T2.

[it would be interesting to see a theater projectionist's thread show up somewhere. Right here: Film-Tec

Looks like his website is working again.

It looks like Norris' Website is down. A sign of the times? Here's last phone number: Dan Norris Norris Film Products 1014 Green Lane La Canada, CA 91011-2326 Phone: (818) 790-1907

George, You should have contacted Schneider in Germany. That's where they still make lenses. I didn't think Schneider USA would know anything about it. Schneider USA is only 8 years old, formed when Schneider bought Century Precision Optics. Here's the German contact info. Good luck again. Charlie

Have you seen one of these before? If anyone could enlighten me,i would be more than happy!All i know is that this must be for macro cinematography...Objects come to focus only 4cm (about 1,6 inches) away from the lense. I couldn't find anything on the net about it... Thanks in advance! I've never seen this lens before. It could be a dual focal length macro, or a relay lens to couple the camera to a microscope. Looking at the pictures, my bet would be coupling the camera to the microscope. Here's an article about cameras/microscopes: Optical adaptation of the movie camera to the microscope Why not contact Schneider-Kreuznach, send them the pictures and ask them? Look in Schneider's Industrial division. Let us know what you find out. Charlie

I have it in the Macro version, Arri mount. It will cover Standard 16 thru Super 35 frame. Charlie

I've found that the DL (1951) seems to be the 1st factory single perf also. I've seen DAs that were single perf. A 1947 Price list shows "Professional Adaptations for Film 70 Cameras (when ordered with camera)" -- "Adapt to Accommodate sound film" $13.80. Models offered that year 70-D, 70-DA and 70-G 128 fps. The model F which has the motor mount, mag mount, Veeder counter etc., was listed as separate add ons to the basic camera, but not as a complete Model F. A 1948 list has the model F and Specialist camera listed. In 1949, the model F was changed to the model H. I have a 1950 Dealer Price list that lists the DA, DE, G (128 fps), H, and Specialist cameras, there is no reference that these cameras are single perf. Under the "Conversions and Modernizations" section, B&H lists for the Design 70 16mm cameras "Adapt to accommodate sound film" when the camera is serviced - $13.80. I assume you could go all the way back to the 70-A and adapt it for single perf. In 1951, the models listed are DL, H and S. The Specialist was dropped from the line-up In a B&H Service Manual for Design 70 Cameras DA, DL, H, DR, HR, they list separate part numbers for the pull down claw, gate and sprockets, with pictures showing double perf parts for the DA model. The other models all share a different number for these same parts. I assume these are the single perf version of these parts. From the factory 70-A, B(128), C(Spider Turret) D, E, DA, DE, F(possible single perf) and Specialist(possible single perf) and G(?) double perf --- *1951* DL, H, S(128 fps), *1955* DR, HR, SR(128 fps) single perf. B&H had a department to accommodate Pros with any versions, combinations of add-ons or modifications they needed for the cameras. For instance, I have a model DL that has been adapted to 128 fps with a 115 volt 128 speed motor permanently attached to the camera. Adapted for 400ft mag. The 8-64 fps governor and spring drive was removed. Most of the older models could be adapted to the new models features. I've seen a DR with a motor mount added to it. Then there are the Military models and the Eyemos. Patrick is correct, "there seems to be a buttload of oddballs floating around out there".

Dave, I forgot to say, take the 2 Governor Dial Screws #18 out and remove the Governor Dial #17 1st. Leave this off until you get #19 and # 20 working. I know you knew that. Charlie

Dave, I had this happen on a couple of Filmo 70s I picked up over the years. You are very close to solving your problem. I'm glad you didn't try to force the Speed control knob with pliers. Please refer to drawing below! When disassembled, Speed Control Knob #20 should rotate freely around Speed Control Dial Holder #19. Prior to the DR model, Retaining Spring Screw #16 held Speed Control Retaining Spring #15, #19 and #20 together. With the DR model they used a rivet pin to hold #15, 19 and 20 together. This makes it hard to disassemble #19 and 20! You could knock the pin out, but don't do that yet. What has happened is #19 and #20 have corroded together! 2 different metal materials. What I did was, I soaked the speed control knob assembly in penetrating oil (liquid wrench, WD-40 or a degreaser - it won't hurt the paint on #20) for a day or so, and it started moving. Now that you know how it works, you'll be able to hold #19 with your fingers and try and move knob #20. Blow it out with compressed air. Don't put anything in the screw holes on #19, they damage easily. Be patient, it may take a longer soaking. If soaking doesn't work, you'll have to knock the pin out, then you'll be able to separate #19 and #20. Reassemble and shoot! B&H did not lock any of the 8 - 64fps 70 series to a specific frame rate that I'm aware of. If they did, they wouldn't have the dial. The 128 fps only model has a plate over the hole where the speed dial goes, but that's the only model I've seen that on. There was a lock assembly on the speed dial, but I think that was on the Eyemo only. As for "remarking" the Governor Dial #17, Charles is correct that the speed needs to be re-calibrated when the camera is disassembled and repairs are performed, or opening the camera and adjusting/repairing the governor. I re-assembled my camera's speed control knob using the same #17 and the speeds came up as marked from the factory, but, I only took apart the speed control knob like you are doing. However, these cameras are old, and if it has been sitting unused for awhile, the speeds may be off. I used a strobe light to check mine. Let me know if this works for you. Charlie

Vernon, You do know that a SR-1 is set for single perf? It has always been that way from the 1st SR-1 made. Same with all Arri 16mm cameras from the 50's forward. All labs process single or double perf, no problem there. I'm curious as to why you would want double perf in this day and age. Charlie

Wikipedia, sheeesh. Let me throw this into the mix. I heard the term MOS came from the labs in the early days of optical sound printing (I'm trying to find my old ACL handbook). When a print was to be struck without a sound track, they would indicate or print on the leader M-O-S - "Minus Optical Sound". This way the end user would know the print was SILENT and wasn't incorrectly printed without the optical track in error by the lab. An old lab guy told me this version years ago. Made sense to me at the time, but I was young and impressionable. :P Perhaps Rob Houllahan can confirm this story. (be easy on me guys!)

Why wait? Red on eBay

Murdoch's site is still up Aw give it a rest guys!