Charlie Peich

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!

Kowa Cine Prominar for 35mm: 15mm T3.5 20mm T2.6 25mm T2.3 32mm T2.3 40mm T2.3 50mm T2.3 75mm T2.3 100mm T2.6

Cinema Products "Ultra T" set: 6mm T1.6 9mm T1.35 12.5mm T1.25 16mm T1.25 25mm T1.25 They came in any mount you wanted or use with adaptors.

Didier, Send a few feet of the effected film to Kodak (that is if you are using Kodak stock) and have them run an analysis of the damage. Your Kodak rep can give you the details.

Just curious here, but did anyone put $1,000 down to get some of the new Kodak Vision 3 stock?

:lol: Very good! :lol:

Christian Janss: "I own an Arri SB and I've shot lots of film on it and I love it. But, often if I'm shooting regular color film (i.e. Vision 2 500T or 200T or even 50D) I can't shake the feeling that the footage looks like it was shot in the 1970s. " Chance Shirley: "Personally, I always think my S16 stuff looks too modern -- I wish it looked more like footage from the 70s!" Trade cameras! :lol:

The Action Master 500 needs daylight spools. The daylight spools in 400ft size that are often used are "split reels" which use regular cores. You are able to order film for High-Speed cameras in 400ft rolls on a daylight spool from Kodak. This is double perf with a long pitch of 0.3000" ... 2R-3000. The Action Master takes either 0.2994" or 0.3000" pitch. Most other High-Speed cameras take long pitch. Kodak at one time had High-Speed Camera film in 50 ft rolls (2R-3000) mounted on a "Tayloreel Microfilm Spool". Not many takes on that roll! I don't know if Tayloreel still makes the 50ft spool.

Hey Tim! From Wiki: The Sonnar is a photographic lens design originally patented by Carl Zeiss, notable for its relatively light weight, simple design and fast aperture. The name "Sonnar" is derived from the German word "Sonne", meaning sun. It was given this name because its large aperture (f/2.0) made it considerably brighter than many other lenses available at the time. The first production Sonnar was a 50mm f/2.0 lens with six elements in three groups created for the Zeiss Ikon Contax rangefinder camera. In 1932, it was reformulated with seven elements in three groups allowing a maximum aperture of f/1.5. Compared to Planar designs the Sonnars had more aberrations, but with fewer glass-to-air surfaces it had better contrast and less flare. Though compared to the earlier Tessar design, its faster aperture and lower chromatic aberration was a significant improvement. The Sonnar has proven incompatible in shorter focal lengths with SLR cameras due to the space taken up by an SLR's mirror. For this reason it has been used most commonly with rangerfinders, though Sonnar lenses with longer focal lengths still appear on single-lens reflex cameras, most notably the 150mm and 250mm lenses for the Hasselblad V-system. Some portrait Sonnars were also made for large format cameras, presumably the press cameras - like Sonnar 250/5.6 for 9x12cm (4x5") format. Though these lenses were quite heavy (> 2 kg) and large, they were optimised for working on a full aperture with the same sharpness and contrast as on smaller apertures. The coverage of these lenses was also not too good for LF lenses, but the camera movements are not too important for portrait work. The Sonnar design has been extensively copied by other lens manufacturers, due to its excellent sharpness, low production cost and fast speed. The Zeiss Planar is a photographic lens designed by Paul Rudolph at Carl Zeiss in 1896. Rudolph's original was a six element symmetrical design. While very sharp, the lens suffered from flare due to its many air-to-glass surfaces. Before the introduction of lens coating technology the four-element Tessar, with slightly inferior image quality, was preferred due to its better contrast. In the 1950s, when effective anti-reflective lens coatings became available, coated Planars were produced with much-improved flare. These lenses performed very well as normal and medium-long focus lenses for small and medium format cameras. A classic Planar design is the 105mm f2.5 Nikkor produced from 1971 to 2006. A 1961 Arri price list I have lists the 50mm Planar F/2 and the 85mm F/2 Sonnar. In the mid 70's, Arri offered the (for 35mm or 16mm) 50mm Planar F/2 T/2.2 and the 85mm Planar F/2 T/2.2 in the standard mount. This was just before T* coating. Also during this time, Arri offered a 24mm Distagon F/2 T/2.2 (list price $1050) and a 25mm Planar F/2 T/2.2 (list price $600). The last version of the Zeiss/Arri "standard" lenses in PL mount (the series just before the Ultra Primes), 10mm thru 28mm were Distagons, 32mm thru 135mm were Planars, and the 180mm is a Sonnar. If you have a chance, shot a test with your 16S and see which one looks the best. Or, put them on a projector and compare. Charlie

Sam, What ever happended to the "Type A" system? I worked with it in the late 80's with Paul. Charlie

Kevin, The pellicle mirror is what the Pathe' 16mm reflex camera uses. Pathe' on eBay It's also used in the Mitchell BNC reflex conversions and in some of the Fries 35mm reflex conversions. The Pathe' 16mm camera takes regular C-mount lenses, no "RX" type lenses. I seem to recall loosing 1/3 stop with the Pathe' camera. It's fragile.

He could always pick up a used Arri 16SR and take the mirror shutter parts out of that camera. Those mirrors are perfectly balanced. :rolleyes:

2 Perf I think it would be easier if you started with a 2C instead of a 2A. The ground glass and viewfinder being the main reason.

I have a 2A It is marked 'II A' on the round disk cover just above the tach, and the original paint covering the screws is untouched. S.N# 3939. It has the cardioid cam movement and a 180-degree shutter. Academy gate. It's hard to tell if the camera came that way, or if it was modified. The camera was 1st bought from Arri in Sweden, and then it made it's way to the states by a photog that purchased it while working in Sweden. It still has the baffles in front of the ground glass. If have to agree with Christian about the baffles. It was tried with a 35-3 that I know of, and the similar "reflection" problems occurred. The baffles were put back as it was too difficult to predict when and under what exact conditions the reflections would occur.

Tim, I?ve not heard of a 172-degree shutter for the 2C in the States. It should be a 180-degree shutter or the 165-degree shutter for the ?variable shutter? model. The 35-III and the 435 have mechanical shutter settings for a 172.8-degree shutter. (The 435 has a setting for the electronic shutter at 172.8 degrees on the menu.). This would be for shooting 24fps with a 50Hz HMI power supply. Perhaps you have a 172.8-degree fixed shutter for a camera that was used exclusively in a 50Hz environment driven by a 24fps crystal motor???? Best bet would be to ask Axel B. or Arri in N.Y. and have them check a parts manual to see if Arri did offer a 172.8-degree shutter. 180-degree shutter at 24 fps 60Hz line frequency or 172.8 degree shutter at 24fps 50hz line frequency. 172.8-degree shutter at 24fps 60Hz line frequency with a crystal motor- no problem. You?ll have all my printed material tomorrow! Regards, Charlie (Nathan explained it 1st while I was typing!)

Sorry about that, I didn't realize the Arri Special grease was just for the movement. I don't have a 2C, so I'm not familiar with it's movement lubrication. I've loaned out my "Arri lubrication scheme" for all cameras up to 1982. I do remember when Reagan was the "teflon" president however. :lol:

Dave, You need to get from Arri - Arri Special Grease (Spezialfett) Isoflex LDS 18/05 -- comes from Arri in a yellow tube. Arri part # K5.50574.0 Charlie

Adam, Tim Carroll and I were having a discussion about the 200ft mags with the cloth take-up belt and checking / adjusting the take-up tension. Do you use the Arri gauge to check the tension? If so, what number do you get on the scale. I've had my 200 footers come in around 5, but I've not seen any printed info as to what it should be. Any idea as to what it should be? Have you had to replace belts? Charlie

Zhang, This may be the only way to go to get the door/finder you need. Arri 2C door . ;)

Patrick, Here's a finder that just came up on eBay : Arri Periscopic finder Charlie

Dang, I completely forgot about the Preston system. I think that's what I was referring to when I mentioned the ?C.E. box?. Again, I was giving you my experiences with the basic 35-III in the field with an out of the blue "why don't we do a ramp on this shot?? request. I haven?t worked with the Preston control. I solved my requests for in camera ramps by adding a 435 Advance to my kit. Marc Shipman-Mueller has been very helpful to me over the years. He used to work in Chicago before joining Arri.