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Bernhard Kipperer

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Everything posted by Bernhard Kipperer

  1. 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.
  2. 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.
  3. 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/
  4. 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!
  5. You will love this, see the short video below about the new prototype: Vimeo link to new prototype
  6. Thanks a lot, that's helpful! Will try to get those soon.
  7. 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!
  8. Hehe, thanks for that, looks like I should really get that one 😉
  9. Ok, I understand. Right, since it already comes that way, should be safe to go back that way too.
  10. 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?
  11. 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?
  12. 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?
  13. 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?
  14. 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!
  15. 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!
  16. 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!
  17. 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.
  18. Nope, has nothing to do with scanning. It's an add-on to the other thing being shown in the video...
  19. Who can guess what prototype I am working on these days? Hint: It is a nifty add-on to another product of mine: https://www.dropbox.com/s/efq4m28tswlpc23/Proto.mp4?raw=1
  20. Wanted to let you know about the newest updates: I replaced the introductory video 5 on automatic time lapses with a completely new version, as the feature was extended in the meantime: The new pre-delay enables you to delay the start of the actual time lapse by a defined duration. For example you can start the pre-delay in the evening before going to bed, Cine Assist will wait patiently and actually start recording many hours later, recording a beautiful sunrise as a time lapse. All fully automated and without your supervision! I also added a new video 6 on additional features you can reach via Cine Assist's menu. Check out my website if you are interested and want to learn more.
  21. Great news for all of you who love to use the Leicina Special: My Cine Assist 1.2 camera control module now officially supports this camera too! Thanks to a small adaptor you plug into Leicina's special socket, Cine Assist can be connected the same way you would do it with any other supported camera as well. Besides all the features Cine Assist already offers for other cameras, an additional one was added too: T-Mode support, which means that Cine Assist can control the expsoure time of single frames, depending on your prefered settings. Whenever you do an automatic film-out from your PC, you can select the exposure time to be used for each frame, giving you much more control of the required amounts of light and the look of the final images. You can find all the details and the full list of Cine Assist's features on my website: http://www.filmcurl.com Feel free to come back to me in case you have questions or would like to request additional features!
  22. For those of you interested in such things, here's a scan of a few frames of the film. You can see it was made in 1972 (square and plus symbols) and it appears to have been manufactured in Chalon France, as it says Safe°ty.
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