Bernhard Kipperer

That would be this: And this:

Hmm, the ZC1000 user manual I found online suggests that this should actually be possible electrically as well, see the picture.

I am a user of Cine Assist, being the one that actually created it, i have used it a lot during development and testing and for a few of my film projects too. I have had perfect results using my Nizo Integral 10, my Nizo 156 macro and my Yashica Electro 8. Also the Leicinas (I own a Super RT 1 and I borrowed a Special) work fine, but for them I use Lee instead now, as Cine Assist Classic cannot use several features that only the Leicinas have. I could also use my Zeiss Movieflex and my Eumig Mini 5 (that only have cable releases instead of electrical ones) with an adapter I built to mechanically control them. This never went into "mass" production, but a similar idea now successfully controlling a Bolex H16 is actually out there, currently in use by a filmmaker friend of mine, I am looking forward to see her results! Some years ago I was sending out "testers" for free, small devices potential future customers could connect to their cameras to basically see "what happens" to find out how well Cine Assist would work on their specifc models (as I obviously cannot check how it performs on every single camera ever made). I thought it was a great idea, however I just kept sending away free stuff and never ever got any feedback. I was forced to stop this after some time.

Last September I got a chance to borrow an ARR16SR1 for one day in a different city. I was using a Saleae logic analyzer connected to my laptop, a bread board and few jumper wires, a Fischer plug I bought from Fischer directly where I had soldered jumper wires to it at home already and a multimeter to carefully check what is connected to what. I could find out quite a lot in one evening in my hotel room. I recorded the shutter signal coming from the SR1 for example and after some extra work fed the recorded shutter signals back into an Arduino Pro Mini. Later on I used that Arduino to "play back" the signals to another device of mine to test that, without needing the actual camera itself anymore. Worked pretty well, I could continue testing at home without any camera at hand anymore. But your case maybe totally different of course.

Maybe nothing. Last year I have asked them about different SRs and protocols, connectors and the like. They told me whoever was part of the SR projects has since left and they do not have any documentation left and cannot tell me anything anymore... I was surprised. Maybe you have more luck now. There used to be one guy on Ebay Germany some months ago who was selling a big amount of SR technical specifications (hard copies). I just checked again if anything is still there but cannot find it anymore unfortunately.

If you want to automate getting digital videos / titles back to Super-8 frame-by-frame, Cine Assist can help you, works really well for me: http://cineassist.filmcurl.com/

I am looking for some information (Google did not help much yet) on what the Arri 16SR expects to receive at the Fischer socket pin 8 "external variable speed control". I understand that grounding pin 5 to pin 1(signal ground) one can input an external signal on pin 8 to use different speeds besides the usual 24fps. But what voltage is expected at pin 8? What type of signal is expected, a sine wave at the frequency the camera shall run or a multiple of it? Or even a square wave, toggled on/off where the frequency of that sets the camera's speed? Any information will help me a lot, thank you very much!

You will love this, see the short video below about the new prototype: Vimeo link to new prototype

Thanks a lot, that's helpful! Will try to get those soon.

I'd like to power a Bolex H16 MC-17 motor from batteries, I think I'll need 24V for 24 fps. Does anyone of you have any experiences what types of batteries would work reliably to use the camera away from a wall socket? How much current is needed? Maybe anyone has a link to such batteries so I could try to get them? Thanks a lot!

Hehe, thanks for that, looks like I should really get that one ?

Ok, I understand. Right, since it already comes that way, should be safe to go back that way too.

But wouldn't the fact that the exposed stock is on the daylight reel again help a bit to protect it against some light? Or not really much, as it won't be wound very tightly? I should get the fresh stock in the black bags anyhow, so I planned to put it back in there, then in the black plastic boxes and then several such boxes in a bigger 35mm can that I tape. That should do, right?

wow, thank you VERY much, that is really helpful!!

Ok, thank you!