Lav Bodnaruk

Mark, the way it bottles down it really is all about lenses... unfortunately there isnt much of a choice for BL. I mean, not with all the blimp housings you'd need. Your primes might be good and your Zoom, if T3 is good too, nice and contrasty... i only got a T3.3 on mine... yours is T3 i presume, multicoated... so picture quality wise, if the lenses will be the same I doubt anyone would ever be able to tell a difference with which camera you shot it... SR2s are usualy upgradet to PL mount and take nicer lenses therefore... yours might not be... In regards to the sound coming out of the BL i read once that it is 28dbl that the camera produces from 1.5 meters away... SR2 does 25dbl... so not much different. This was done without a barney or towel of any kind over it .... Should you choose to tailor a barney around yours, get yourself nice set of blimp housings for all the primes and different zooms, well then you have a nice camera that does all basic things that SR2 does (thats kind of where i am planning on taking my BL too :D) In regards to the handheld shots, oh well, there I might disagree with you. I shot a fair bit of 16mm stuff with SR2 and it was all pretty much handheld ( I am a sucker for it and just love "Traffic" :D) and i have since tried to do the same with my BL and i dont know if it is long scenes, long shots or my broken neck but its dam heavy and very hard to pull focus on... see, my films have very long durational shots, cause i like that, and are often handheld. This usualy means the camera changes subjects or the distance between the subject and the lens, so lots of focus pulling... on a BL to focus pull you got to turn the entire blimp, and that alone can cause jerky moves... not to mention that on SR2 you can get a nice FF with remote controls should you have enough cash in your budget... This new film of mine i wanted to try out steadicam and fly the camera for a while. To balance a BL on there is next to impossible, according to few steadicam ops i spoke to... I am not saying it is impossible, but apparently hard to balance... whilst SR2 is a piece of cake... might have to ditch those flying shots it would appear... maybe my dissapointment within that is having an effect on my answers :D i dont know... If you have a choice of shooting on either SR2 or BL i would really urge you to consider all the facts, try out both of them and ask more people about it, before settlign for the BL... if your collage has both I'd line up for the SR2... If you have a nice one for sale, let me know :D Lav

HI Mark, unfortunately i am not able to answer your question regarding the brand of oil used nor the amount that you should squirt in. I think its best you ask an engineer that does this on regular basis, as i wouldnt want to give out any wrong information... perhaps someone from this forum would know the answer? Comparing a BL and SR2 is not really fair. I mean, there are 2 decades in between those cameras production wise... (approx) Obviously that is a what makes SR2 many many times better then a BL. The electronics are more modern and easier upgradable. Pretty much everything on an SR2 can be changed around to make it into SR3, whilst a BL is always going to remain a first sound camera, incredibly HEAVY, with BLIMPs for lenses required and so on... SR2 cannot be compared with the BL. In my opinon (As I own a BL) a BL is a great starting camera, a great toy to learn your way around an Arriflex unit, a great way to get to own a camera for cheap and to a large degree a collectors item whilst your SR2 is a real piece of equipment, gear that will get you jobs and be recognised everywhere in the world. Hence why a good SR2 costs about $20 000USD and a BL is about $4000USD... In the nutshell, when you forget about the electronics of the two units, even little things like heaviness and not being able to swap lenses around easily is relevant not to mention the loudness difference and Super16 conversion, or any kind of EXTRA accesories. Think follow focus, time code generator, extendable eyepiece, inside light meter, varying speed motors, matt boxes, lens mounts, etc etc... all of which is available world wide for SR2 and NOT available for BL either because it doesnt exist or cause it would be rare as hell to find... :huh: You can read anothe thread on this 16mm forum I started about comparing a BL with SR1 (german electronics) that I enquired about only couple of weeks ago. Even to compare a SR1 with a BL was a crime :D Dont get me wrong though, i love my BL and aint selling it ever :D Cheers Mark, Lav PS. Are you thinking about getting an ARRI SR? Let me know if so...

Hi Mark I think you will find video assist is essential when you get into more expensive shoots. You run it on a seperate battery and connect it to a monitor that should have its own batteries too. In the real world, you should have an apple clamp shell there (portable DVCAM recorder) and record the footage straight away. Director doesnt always get to peek through the camera and needs this. Its good for continuity too as well as seeing if the boom is in the shot :D Most important of all though is your clients... if you are working on a TVCs or a Video Clip or similar you must show your client the picture as they will sit behind your back asking millions of questions, this is one way of keeping them happy. Whilst working on some bigger pictures as a video assist I was doing some crazy things, spliting the signal to all Heads of Department as well as importing into a Final Cut and providing all the shots back on cue to them and even getting a rough copy out by the end of the day... its relevant, for you want to see what you filmmed whilst you wait for the stock to develop and go through telecine... Once, on one of the indi things I did, we had split going into an Avid straight... this was real cool cause Avid was able to show the picture while importing and play back the shot before that... you get to match eyelines, continuety and much more real good. Imagine you are shooting digital, with a split, you could make sure your lights always match... Now, you mentioned you are affraid of it attracting people to watch it? maybe that will be case on an indi production, but even as such it will wear of. You'd probably only get one monitor, and that would be in front of a director-i doubt your crew would be able to gather around it as they'd be doing other things. If its day light, you will find that the director might chuck a towel or some kind of sun protection over it and his/her head to cut down on glare... And of course there are all your stedicam, gib and dolly shots that often have you not being able to peek through the eyepiece... if you gonna send you camera 5meters above your subject on a jib, well then, that jib better be a crane to allow an operator to go up with it... Cheers, lav PS> here is a guy that makes what i am trying to do on some 35mm cameras... he just told me he would make a video split for a 16BL for $995AUD. I think I still might make my own, but it's not a bad price I guess... http://members.optusnet.com.au/~smort1/cinecamods/mods

Glann, thanks for the e-mail and the picture of the points on BL. I have reduced it in size from 2.5MB to 440KB and put it on my site, should anyone here need to download it too... http://www.lavproductions.com/pics/BLpoints.jpg

Hi Mark, I believe very much into video assists, cause i am a director by trade :D In the instance of my BL i am hoping to have a Sony camera attached to the viewfinder and focus (with the right lens) onto the ground glass. This should show what the lens sees. Perhaps attaching an LCD onto the BL too, cause the operator wont be able to see throught the viewfinder at the same time when the video assist is on. I've previously tried attaching a small spy camera on the top of the zoom lens. This did well in capturing actors and their action but did nothing for the camera department or any other for that matter, for the framing wasn't right. Depending where you are in the world, these fellows can help you install an awesome video assist that will split the vision two ways, and wont cover up your viewfinder... i think it costs abuout $2100AUD and more if you do not have APEC door :( http://members.aol.com/azspectrum/16blccd.html http://www.arandafilm.com.au/index.html No, I didnt modify the camera. The companies mentioned above will do that for you though, costs aboout $3100AUD for conversion to Super 16; Not too bad if you wish to take your BL there in time... I simply had it pushed to that in telecine - (I am talking about the video in Current Projects; The video in About Us has black bars dropped on it and was shot many years ago with an SRII) We shot the test shoot thinking about doing this... and thats that, the test shoot, what you saw on the net. http://www.lavproductions.com/film.htm Its not a good thing to do, cause you are lossing even more of a frame, the telecine techs are zooming into your image, but it is a cheaper alternative for getting that super16 look. If you wish to do this you should try and shoot everythin in slower stock, for later if there really is need to blow it up to 35mm, you don't want the film to over flood with grain... Ill be doing another test shoot within the next couple of weeks or saw, will post it on the net when its transfered to tape. Thanks mate, Lav

hi there, it worked fine for me. I like it. Simple and to the point. Cheers for making it. Lav

Hi Glenn, I have just e-maied you too, for i wouldnt mind having that pic as well... Mark, I have a BL too and over a very long period of time, i have managed to find few different bits and pieces of documentation for it... here are links to some that you might like to own for future purpuse. This was sent to me by Mr. Guenther Zoeh, a manager from Arnold&Richter Cine Technik in Munich, a very usuful and extremeley rare wire diagram for BL, BLE and EMP motors... I've added it to my website... http://www.lavproductions.com/pics/pdf97462.pdf Here is an English manual for BL (probably the one you got in German) I got this same thing in HARD COPY that was an original and came with the camera, and i think its that one they sell on eBay... so don't buy them... http://www.intervalometers.com/pdfs/arriblmanual.pdf Here is one about BLs in general: http://www.cinema-astoria.com/cinematograp...iscription.html http://www.cinematechnic.com/resources/arri_16bl.html on the bottom of this page there is a History of ARRI http://www.cinema-astoria.com/cinematography/arri/ That's all i can think of at the moment. I have gone through a fair bit with my BL so if you need some advise, shoot it across and I'll try and look into it for you. Do you have a video split on yours? Cheers, Lav

That is just really good adivce from theturnaround; I didnt plan to , but i learned a little something here today. Thanks. :D

Believe it or not mate, i had a home made battery that i insulated extremely well... this one we didnt use, cause it was home made... see, i was given 2 other batteries by Panavison, which were great and had a charger and were in perfect order... and i used them. they were in Metal casing all around... cold as it gets. What can i say a lesson learned on these batteries and a film well destroyed. Not only was my shoot gone, but i had to stop the entire production searching for the problem on the camera that was not there... pay for this and that... no answers, keep searching..... hmm. Not to mention that the entire time i had my own battery there, that was well insulated. When the camera got stuck first, we opened the mag and checked for stuff inside. the loader decided to change a mag, just in case it was mags fault and whilst he did that i ran the camera on my battery-dry no film. it ran 25fps. we put mag on, took it outside, put panavision battery on and bum, no go... so like i said, a life lesson learned...always insulate batteries on cold weather. what can i say, i just didnt know this. The thing is, the batteries are not to blame. They are fantastic and work great the next day... its not a reflection of how good the battery is, but rather the temparature itself... Thanks mate. lav PS>Maybe we should post a thread in this forum (or maybe there is one already :blink: ) that says, keep your batteries well insulated in cold weather or you will get this, and show my test shoot... it could be a valuable lesson to some new fellows. Just a thought.

perhaps it wasnt the camera that needed to be winterized, but rather the batteries. A respected DOP told me this just two days ago. In his opinion, the batteries seem to loose function in the cold. This is not a reflection on how good the battery really is nor weather it will work the day after.

Hi, yeah it was real cold - cold for Brisbane Australia. See the temparature was around 0-5 degrees contrasting that day's temprature that was about 19C. So a real DESERT climate... It was really damp too. I had a lot of gear outside, such as my HDD sound recorder and monitors for Video Assist and so on which were literaly covered in water - about 5mm thick, like a poddle! This water got created on the gear in less then an hour of us taking time to eat. But it still dont make sense though. Because we took the camera inside the house when eating. (it was a shed to be preciesle, but warmer condition). Maybe the few degrees difference of getting it outside the warmer house into the cold exterior again did it??? Till recently i thought that my BLE motor was affected. Before that we suspected that the FILM (KODAK 7218 Vision2) got stuck together on the ROLL A in tha magazine and was preventing the proper feed to the camera to take place. The CROUNCHING noise was coming from the magazine ROLL A; I thought the DAMP condition got to the stock and it was wet, sticking together. The LAB was told this was what i suspected so they paid special attention to Yellow spots on the neg. Couldnt see any, so i did a telecine on it - to see the BLUE dots...there were only a few, a hand full, showing that YES there was some of this on the night, but as the KODAK rep told me, not enough to stop the film rolling... I had Panavision people look it, KODAK people, Telecine people, other BL owners, DOPs, and still no answer... Flicker could be from the inhouse fluoro on the door of the Shed, visible in the shot, that wasnt on flickerfree...(I directed not shot) this in combination with the poor runnng battery or motor caused flicker. Why did the speed drop to 10fps? Donno... next morning, around 10AM, i took the camera out of the case, with the 2nd magasine of the night still attached (problem persisted after we swapped magazine) and i rolled the film... it took 2-3 secs to CROUNCH some more in the mag on ROLL A and then it ran like a dream at 25fps! I am standing by that is has to be the COLD, for the next day brought SUN. But i dont know how or why... :blink: IN regards to the SR1, mentioned above, the serial number is 61531. I will try and find out if it is French or German motor. If anyone knows from looking at that, please let me know. Cheers, Lav.

Hi mate, Try looking into an Australian Writers Guild or American. Maybe you can become a memeber there and still distribute your work in your country? Perhaps it is worth writing to one of those guilds with your enquiry as I feel they may have more knowledge in this department. I am not sure about protecting yourself against something that might look like your work. I think it is same as in every field, weather it be writing, architecture or design, if you change more then 25% of someones work you can pretty much get away with it - which is stealing... sorry i cant help further mate ;) good luck! lav

Hi, I thought you would have to register your script/screenplay with the screen writers guild of the country you are in... I think that is how it is in Australia. Although, i was always wondering if registering in one country could be safe to send scripts to another, like to States for instance? Anywas, i think it works in a way where you contact them, JOIN THEM - this should cost a little fee and then you register each one of your screenplays. They should each have a fee but i doubt it should be more then somewhat $20AUD each. Oh yeah, and I believe that the copyright stays yours till 50 years after you die or something... Hmmm and the Guild keeps it on file so they have proof... Well, this was my answer to the best of my knowledge. It would be good to hear from someone else as i have NEVER done this. By registering with your guild of writers you get to put the little copyright symbol "©" (PRESS ALT KEY and 0,1,6,9 in that order on your NUM keypad) next to your name on the screenplay, telling the PH do not dare steal, i got friends :D Hope someone confirms this.. © 2005, All rights reservered by Lav

Thanks for the 3 great replies, both of whcih were very helpful in this moral dilemma. I have found out that the lens on a SR1 is T* Carl Zeiss Vario-Sonnar 1:2, 8/10-100 (so unfortunately its not the T2) and still do not know which motor is running the whole set-up. I think I will wait till I find that out before i make my final dession, as Tim suggested. Is it as simple as ringing ARRI with a serial number and asking? I thought that the difference between the two could be told by looking at the camera, by the different number of screws on the inching assembly? http://www.cinematechnic.com/resources/arri_16SR.html I did experience some problems with my BL few weeks ago (it can be viewed on my web site) but the techs couldnt find any problems with it when servicing and performing tests on it for the last 2 weeks... The conclusion to the "bad night test shoot" we got was that the COLD got to the battery, made the motor on the BL go crazy, shoot at 10-12fps and cause major flickering that was also influenced by the 50Hz lights that were not on a flickerfree balast.... I must run another test shoot on the BL this week, irrelevant to getting the SR1 or not. Any ideas on what to shoot? Street lights? Again, thank you heaps on your help. You can view the flicker shot here http://www.lavproductions.com/ (current projects) it was pushed to 16:9 in telecine.

I'd definitly give them a call and ask to see what they want to do... It also seems obvious you are going to do the same, for you wouldnt have posted this question if you weren't thinking about it. On the other hand, if you were keeping it, i reckon you would have done so without thinking twice about it, but you did... anyways, when you do call, perhaps you can mention that you are happy to keep it should they be okay with that too... rather then wait for them to suggest it. This is not cheating, stealing or manipulating but rather just straight forward. They may not suggest hangging onto it as they may not realise you have the use for it.... right? Karma is out there, you dont want to get it pissed off before you shoot anything ;)

Hi there, I own an Arri 16BL with BLE 25fps motor, Minilock (not working), 2 x Jensen505, 4 mags, 3 different blimp housings, swan neck eyepiece and zoom lens (Carl Zeiss Vario Sonnar 1:2,8/10-100mm T3.3-clean). I plan to shot an indi feature, with just enough money for the stock and development (and some telecine now :blink: some later....) I have been trying to experiment with finding a proper video split/tap/assist for the BL that wont break my budget. Nothing came to mind and I am currently still looking at Pulnix cameras with appropriate lenses. I also got worried about the weight of the camera (approx 9kg) in doing some hand held shots or even on the off chance of having a steadicam righ and an operator out for a day... so i started to look into SR1s. Would you know it, i made an impuls dessision (VERY SILLY) and i bought an SR1 for about $4200USD, spending my film's stock money. This of course means i can not hang on to both cameras, and will have to sell one away. I know that the SR is better (Even though i haven't received it yet and am not sure if it is a French or German motor operated) but can not help have the dilemma of getting rid of the BL that has been cleaned and tested at Panavision for the last month (done up to be as good as it gets)... What would you advise on doing? Could I attempt selling a BL and for how much, since i spent fortune getting the accesories and all the extras that are very hard to find and come across - its in tip top condition. Or should I forget about the SR1? I dont even know what motor it has... Is there an obvious way of recognising the French against German motor just from pics? The seller didnt know either... It comes with 2 mags, 2 batteries, belt, eyepiece, and Zeiss 10-100 T* lens (meant to be very clean and smooth on focus, zoom, etc...) i guess it was just getting frustratign trying to find all these accesories for BL that were always more available for the SR, so i bought it, but wish to ask if you recommend hanging onto it or not. I have 2 Cine Xenon primes, 10mm and 16mm that i would hang on in both cases. Other primes I'd rent for the shoot, and have the blimp housings to get myself covered when using them with BL (although it would be a bit longer and harder swapping process). Let me know if you think this upgrade is worth while or if i should just start shooting the film already... Thank you. Sorry for the long post... :blink: PS. Havent slept in days, all this happened instantly. I havent spend this much money on anything before, not even my car...

Hi guys, I've tried searching a forum but had no luck in finding an answer and was hoping that someone out there might be able to help me. :huh: I have a 16BL and need to make a video tap on it. Now, from my readings on Google I have come to realise that I have two options: * an upgrade of the door with a camera inside it (APEC) or * getting a CCD unit that sits on the viewfinder This is where the question lays... As I am after the cheaper option, (so not the upgrade of the door) do you know what kind of unit I should be looking for to put over my Swan Neck like viewfinder? I understand that majority of CCD cameras such as SONY XC-77, 73, 999, etc have a C-mount lens end and was wondering if one of them would fit onto it? If it did fit, would it be able to produce the picture from the viewfinder onto the monitor, due to lux limitation and lack of actual lens on the CCD camera itself? Or do I need to have the lens on the CCD camera and then mount it on the viewfinder? So many questions, so little knowledge of the subject on my part. Any information will be greatly appreciated! This web site has some of those SONY XC cameras to view: http://sonyccd.com/xc_cameras.htm Thank You. :D Lav PS. Aranda Group in Melbourne Australia does an APEC door conversion for $2100A plus $250A for the door itself... http://www.arandafilm.com.au/index.html I was hoping at finding something for $500A...

Hi Domic, I kind of imagined it to be that way... The seller wasn't ABC TV direct but rather a former worker form ABC that addded this story behind it (Terry Miller). Now it all seems too cliche, much like Seinfeld episode - George buying a car that he thinks was owned by celebrity John Voight... B) On the end I didn't get the camera because of it, so its not really relevant - just trivia. I have a film to shoot with it :blink: and much cleaning ahead of me... Thanks mate. PS. Set of NDs was included in the package <_<

Off topic a bit, but since you mentioning Dean, on the off chance someone that worked with him back in the days of the doco shoots or himself reading this, id like to ask if he owned an Arri 16BL whilst working at ABC Sydney. I bought it from there and was told it used to belong to Dean personaly. I guess its just one of those things id like to get to the bottom of, one day. Thanks.

Hi there, I own a BLE unit that i am trying to gear up for an indi feautre. At the moment i am looking at getting a video tap for it. The door is just a standard one, not converted, the view finder is a bent 90degree one - not a small one... now, i am rather interested in getting the in-built one, which i know will require the new door and much labour work - totaling at $2100AUS if i send it out to Melbourne (from Brisbane) Australia. This is super expensive for me and it's not something I could afford at the moment... The other option i was told i had was, getting a video tap that mounts onto the view finder? This particular option is not meant to allow me to view through view finder at the same time as through a vide split, bit it is meant to be much cheaper. This brings me to my question. I have found this Video Tap on eBay for Arri Bl2 and Bl3 and am not sure if it will fit onto my 16mmBLE. The guy selling it wasn't sure either, but he seems to think that it could fir with a C mount conversion of some kind?>> I don't know what that means? Can it work? The two together? http://cgi.ebay.com.au/ARRI-ARRIFLEX-JURGE...1QQcmdZViewItem that's the link for the Video Tap. Please let me know if you think it might work. Also, if you know of any other options, i am open for suggestions. For my test shoot, i actualy mounted a small SPY CAMERA on top of the ZOOM LENS and had some idea of what the actors were doing. This obviously bypassed all ideas of Video Split not giving me the shot, the framing, the lens, but rahter just the performance of the actor. It worked fine when we were on wide end of the lens but when the zoom was being used to its full potential, it meant that the spy camera was capturing the acton in LS rather then CU... I have also seen people mount a SMALL MINI DV camera to their view finders. This looked interesting.... They record onto the Mini DV at the same time and have Video out to go to monitor... the MiniDV gets attached to the View finder somehow... any tips on that (like which MiniDV might be right for my View Finder) would also be awesome! Thanks for reading this far! Cheers, Lav!

Hi, i got a 16BLE and with a Sync Add on motor - its a nice unit. Used with blimed lens it produced 30db and when comparing with SRs that make 28db (both judget 1.5m from the camera) it's not bad... just chuck a towel over it and you'd beat that 2db difference :D BL is a cheapest Sync Sound camera and ideal for a learning curve. If you get a conversion to super 16 done, video tap instaled and few other things, with time that unit can become quite up to date.... anyways, ebay is the best, ive been shopping there for yonks now, and everytime i got what i was told i was getting (for 1/4 of the cost id pay anywhere else) Just ask questions before sale, like, is the focus on lens good on both ends, is the gate okay for 'steady test', are there any light leaks, when did they last use it, how clean is it, etc http://www.cinema-astoria.com/cinematography/arri/ but do what the others said, rent one for the weekend, or make a friend with someone that has one, offer them some film for free and before you know know it you will be shooting with them... this will help you decide on those last few moral dilemmas you might be having... Lav PS. you also said you weight vison over sound, you should never say that again :D Sound is an equal.

Hi guys! Seeing that many folks are reading my POST, I have dedicated a small amount of web space to my problem that explains it in a detail. Don, another member of this forum, is currently helping me with it, and for that I am very greatful! I would like to include even more wire diagrams of the camera and the sync motor add-ons, for other users to benefit from... Here is the link: http://www.lavproductions.com/motor.htm Thanks! Lav bodnaruk@bigpond.net.au

Hi Don, thanks for your reply. Here I have attached the link with the photos of the actual add ons, as I do think they should function even without the Tobin... I mean, these add ons should give me the Sound Sync 25fps when functioning properly with a 12V battery. Since posting the above question, I hava managed to make to my Jensen Add-on work, but only at the setting called "Constant". When it runs, if you look at the FPS on the camera meter it appears to be just a bit over 25fps. As a matter a fact, it appears to run at the exact same speed as it does without it (using just its standard BL motor)... Does this mean that I am no closer to sound syncing than I was before it all ? I am asking this as I have only ran film thourgh this camera without any add-ons and wish to make sure I will get 25fps before running any more film. (I am finding tests of Sound Sync expensive - as per buying a roll of film and all the teleciny and would rather save that money for the actual film shoot... hence why I might use my next camera test as a 'screen test' for actors :D ) Here are the actual photos-this sould clear it up a bit :D Any thoughts or ideas would be most welcome, as I plan to shoot with this sometime soon and would like to get it up to speed. :huh: Regards, Lav http://www.lavproductions.com/motor.htm

Hi, I own a 16BL and have two, that's right, two different Sync Control Units, none of which are giving me the desired 25fps? 1.) I have done up a diagram of what cable I am missing and need to reproduce, to make one of the SYNC motors work.... a wire diagram which outlines the colours of wires that are in the Sync Control Unit as well as in the Camera Battery Input - I guess I am asking if anyone in this forum can help me connect the dots? I am afraid of trying any further then this on my own as I might burn my BL, that is functioning perfectly on its original motor (24fps/25fps - vary, so I loose sync after approx 2min of constant dialogue).... the SYNC motor in question is "Minilock A Precision Crustal Control" for Arrifles 16BL Serial No 72086 Made in Great Britain by Audio Engineering London. 2.) My 2nd SYNC motor is also non functional. This one I got from eBay, in hopes I wouldnt have to re-build the cable for the above mentioned one but rather save time and money by purchosing another one - what a joke! This one doesnt work either! Now this is a "Multisync 505 Made in Denmark by Georg Jensen". When I connect it to a 12V battery it doent do anything. Its dead. I've opened it to find a lot of wires that were disconected. Since, I have been playing with it, trying to solder them togehter in their right places, playing with volt meter and resistance measurements in trying to figure out why there is still no power going through it, to the camera. As I love my long dialogue scenes (shooting masters at least) and as I do own two different Sync Control Motors, I would love to get them activated. If you can help, please contact me on bodnaruk@bigpond.net.au I will try and attach the picture of the diagram I drew up for the first mentioned sync motor and it's missing cable... But if unclear, please contact me and I will send you the actual photos of the camera and the sync motors.... I could send you photos of the inside of the 2nd Sync Motor if you think you know a bit about wires and could know what could be wrong from looking at it. :) Thank You! Lav Smile http://www.lavproductions.com/pics/wire.jpg