Bernhard Kipperer

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!

So you mean that also on take-up side you'd use a daylight reel and put the exposed reel in the end back in the black box for shipping to the lab? So not to use any cores at all on either side of the magazine?

Thanks, so I will use the daylight spool on the feed side and the collapsible core on the take up side. Do you agree that re-spooling the films onto cores may be a risk with regards to dust and that I am better off just not having the footage counter but a clean stock right out of the factory?

Another question connected to this: I have seen that other cameras put signals like pulses for every single frame and such on a few other pins besides 7/9/11. Does anyone know what the other 8 pins on the Arri 16SR 11 pin connector will input or output?

I will be getting a few 100ft 16mm daylight reels to shoot in an Arri 16SR. Now I am wondering if it would make sense to re-spool them onto cores or if I'd rather use the daylight reels directly. If I wanted to use cores, I'd have to spool the 100ft onto another reel, then re-pool that reel onto a core inside a split reel, am I right? The downside I see here is that I'd spool the entire 100ft twice and may introduce dust or even worse some scratches. From what I have read so far, using the daylight reels directly just leads to a louder camera, does anyone know of any other real issues that may arise? Besides that I was told by the owner of the camera (I will borrow it for two days) that the daylight reels cannot fit in the magazines. How could that be true? Isn't every Arri 16SR able to use them, as soon as you remove the core adapter you will then see a normal square thingy, similar to what Krasnogorsk, Bolex and the likes have, which fits the square hole of the daylight reels, right? What would you propose? Thanks!

Thank you very much!

Could anyone please tell me how the remote start/stop is handled on the Arri 16SR? To my understanding, there is the 11 pin fisher socket and according to a diagram I have found, pin 7 would be used for start/stop, 9 for ground and 11 for +12.6V. Nothing more is mentioned there however. Is ground and +12.6V used to supply the attached etxernal device? How is starting/stopping achieved? Is pin 7 being pulled high shortly (To what voltage? Connected to pin 11?) to trigger a start and pulled again to stop it? Or is it signalled differently? Thanks!

With some overly complex mechanics that scare me, haha, won't say more yet, it's still in development 😀 It works as a prototype now but is not very portable (as compared to Cine Assist that is small, light-weight and only uses a single battery). I hope to be able to improve its power consumption and shrink it soon, new components to build the next revision are already on their way to me, once I'm fully done I will post pictures and videos and all details of course, so stay tuned!

Correct, but that is only ONE part of what it will do. It's a new adapter for Cine Assist, which of course can do much more that just time lapses, but so far could only control cameras with electrical remote sockets, see http://cineassist.filmcurl.com Now I can plug in Cine Assist and the adapter "translates" signals to a standard cable release. This way I can fully support Super 8 cameras that only have cable releases, I recently for example succeeded with an Eumig Mini 5 and a Voigtländer Zeiss Ikon Moviflex MS8. But I could also already successfully use it for long time exposures on 35mm and 110 still cameras and for single frame releases on my Krasnogorsk 16mm movie camera.