Charlie Peich

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.

Patrick, The 35-III's electronics will not support the RCU control. Same for the C.E. High Speed base if your camera is so equip. I've tried doing "ramps" with short speed changes and manual iris changes. Ok results. You'll need to have someone change the variable speed dial (non Xtal speeds) while watching the FPS read out, someone to make the iris change and someone operating the camera. 3 people needed to hit all the marks! There is no way to push a button to initiate the effect just, "a one", "a two", "a three" type cue. The Precision Speed Control 2 may make the speed change easier. Rehearse without film in the camera. I hope it's not to be accomplished during a dolly shot while you are all riding a dolly, someone may get hurt! Altoids are handy also. If the speed change is a short range, again the variable speed dial on the high-speed base could be used, then use the latitude of the film stock and correct the exposure in post. The thing about the variable dial, there is a slight delay when you move the dial until desired speed is attained. No way to put a stop mark, and it?s different each time! It can be done if you're patient and are not to critical about the 2nd speed you want to hit. I?ve tried this with the H.S. base only. You can use the crystal speed selector to advance the speed in 10 fps increments, 24 fps to 34 fps etc. This is almost an instant change of the speed. I personally wouldn't try it with my camera going from 20 fps then pushing the 100 fps selection to go to 120 fps. I'm just not sure if the sudden change in the speed selection would negate the built in safety ramp. YOU can try it, then let me know if the camera is still working! :lol: I'm not sure of this, but C.E. may have a box to operate a iris motor for speed changes. You'll have to check with them. It may be an item that's not listed in their catalog. Once the 435 came out, the 35-III was left in the dust as far as further electronic advances, but I don't think they could do much more with the 35-III's very reliable electronic design. I do appreciate "no budget" shoots and the need to improvise. Charlie

Tim, I believe the flange distance is the same for the Arri 16mm and 35mm cameras, it's the physical size of the mirror shutter that mucks things up. The lenses designed and optimized for 16mm have a rear element that usually sits closer to the film plane. Because the shutter is smaller and closer to the gate in the 16mm camera, this helps the design (said in very simple layman's explanation). Back in the day when these lenses and cameras where being designed, they were trying to keep everything as small as possible, 3 lenses on a turret etc., design the lens to fit existing cameras, lens design was different than today. The rear element on a 35mm designed lens has to be further from the film plane because the mirror is further away. Make sense? Congratulations on your new Arri 35-2C camera. It's a great set-up you acquired! Now get that set of Master Primes and you're good to go! A fast a.c. will keep that 200ft mag loaded all the time. I'm pulling some Arri paper together for you. I'll be in touch. Charlie

That's the easy part, with the 2B, it's hard to get the ground glass out of the camera, then put it back in and check to make sure the depth is correct. Chuck, do you recall the procedure for removing the g.g. from the camera? If I recall, I think you have to remove the gate, then the g.g. can be removed from the g.g. holder. The holder not only holds the g.g., but it also has the reflection reducing vanes that make those vertical lines you see. Very delicate. I don't think you can pull the g.g. out through the lens port like on the 2C. I have a parts list for a 2B somewhere that has exploded views and I'll look at my 2A. Anyway, I think the g.g. holder may need to be removed from the camera in order to slide the g.g. out so you can set it on a surface plate....... Or, you could check with Shurco Tool and see if they can cut one of their g.g.s for a 2B. They make very good g.g.s! Then have your g.g. "brightened" by Bernie O. I did that with one of my 35-III g.g.s and it does let more light through. Charlie

Rob, The periscopic finder won't work on the 2A or 2B cameras with the original doors. The 2C model offered "larger, brighter viewing field by completely redesigned new finder optical system with larger ground glass 6.5x image. Detachable eye-piece assembly permitting use of either periscopic finder attachment, new automatic closure eye-piece assembly, or eye-cup assembly for cameraman who wears eyeglasses." The 2A and 2B do not have ?detachable eyepieces?. Not to say that some 2B cameras haven't been modified along the way with the 2C door, and therefore could use the periscopic finder. There was a discussion about this on the forum a while ago ? 2C doors on a 2B body. Patrick and Tim, I pulled the pieces together and put a periscopic finder from a 16S/B on a 35-III with straight, fixed finder with video tap. It worked fine, with no vignetting of the image or on the ground glass markings (academy, 1:1.37, tv safe action). I looked through a auto closure ocular (16S and SR), and the larger ocular that the 35-III provided with their door that has the pivoting finder with the video tap (the last and best design made for the 35-III). I shot with this set-up on my 35-III for a few months while waiting for the new pivoting finder/video tap door to be released. Patrick, If you are not in a hurry, you can find the periscopic finder on FleaBay for less. These things appear from time to time. I'm sure the one from Visual will be in top-notch condition, unlike the crapshoot with FleaBay. If do you get one, one thing to remember, when you pivot the finder up or down, the image will not remain level, but will tilt to a max of 90 degrees. Not good when hand holding, you might get disoriented and fall over.... right Tim? (not that Tim has fallen over, while shooting that is, but the tilted image :P ). Charlie

Patrick, The periscopic finder for the 16S & 16M is the same periscopic finder used for the 35 2C. I've used the finder from a 16S/B on a 2C before. I just looked at May 1975 price lists for the 16mm and 35mm cameras, it lists the periscopic finder catalog number as 339-100 on both lists. On the 35 2C list, they add this description "shows approx.22mm diameter field on Arri-35 2C". This means you won't see the entire frame. You have to move your head around to see the edges. The 1975 list price of 339-100 periscopic finder was $800. When the 35-III was introduced, it came with the basic camera door with fixed viewfinder. I recall using a periscopic finder with this set-up. In Arri's October 1988 price list for the 35-III, they list the same periscopic finder # 339-100. "Note: In 35mm format, only 25mm of diagonals are visible in the viewfinder." The 10/88 list price for the periscopic finder was $2025. In 1975, the 35 2C/B body only listed at $5,200. Also in 1975, Arri did list a 35-2CBT camera "with movement for two perforation pulldown, Techniscope film gate (9.5 x 22mm/0.373 x 0.868) 200 degree shutter and groundglass marked for Techniscope format". This body listed at $6,150. I hope this helps. The finder is a very helpful tool for the 2C! Charlie