Jump to content

Paul Scaglione

Basic Member
  • Content Count

  • Joined

  • Last visited

Community Reputation

6 Neutral

About Paul Scaglione

  • Rank

Profile Information

  • Occupation
  • Location
    Cleveland, Ohio
  • My Gear
    Arriflex, Mitchell, Panavision, Eclair
  • Specialties
    Bench technician with extensive experience both in the field as well as in the shop. CAD design & manufacturing of camera, lens & accessory mods. Career spanning over 30 years.

Recent Profile Visitors

644 profile views
  1. New and ready to ship! http://www.visualproducts.com/storeProductDetail01.asp?productID=727&Cat=11
  2. Here 'ya go.... http://www.visualproducts.com/storeProductDetail02.asp?productID=829&Cat=3&Cat2=46 Currently outfitting Arri & CP as well as working on Aaton...
  3. Sorry all... Bad news on most fronts! Marty Shelton is no longer around as far as I know everyone else has basically sold out of them. Birns & Sawyer used to sell them new for many years and is who we bought them through. The used ones we have seen come in for some years now are brittle and pretty much done so consider going to a 4-pin XLR conversion. These also used to be a simple mod and unfortunately have also gone the way of the dinosuar in that the right-angle 4-pin XLR connectors from Canon and Switchcraft are no longer available. Some years ago they could be purchased in large quantity and I remember having that conversation with Steve Gal at Duall Cameras in New York. He said he was considering buying them in bulk and may have... I don't know but if he did is the probably the best source for a nice 4-pin XLR mod. Otherwise figure in soldering a cable terminated in 4-pin XLR female right to the protruding pins on the back of the camera and being done with it. Good luck from all of us here at VP-
  4. Hi All, I see the lines lighting up on this subject again.... I had replied back to Tristan some time back that I had found an Angenieux orientable finder for the NPR here in really good condition but hadn't heard anything back so figured he had found something. Anyhow, if anyone is interested I do have that one available as well as a Cinema Products orientable finder that fits the NPR that we would sell for less. It is also in good condition but requires more messing about to orient the image to horizon. Drop me an email directly to paul@visualproducts.com if you are interested and I'll get you some pricing.
  5. Hi Tristan, I was looking at something completely unrelated and ran across your post and yes, we do have an orientable viewfinder here for the NPR. It is made by Cinema products and works differently than the Angenieux viewfinder in that you do have to manually erect the image after changing the eyepiece position but it works well and is in good shape. Give us a call at Visual Products and we'll get you some pricing. Best, -Paul Scaglione Senior Technician
  6. Hi Larry, I just happened across your post looking for something else..... Why don't you contact Paul Hillman here at Visual Products. He's done many, MANY of those through the years and we had parts made specifically for those lenses so should have something in the drawer to sort you out. Our number here is (440) 647-4999
  7. Hi Dom, Thanks for chiming in.... Yes!- Some of the things you pointed out are things I take for granted having handled cameras for so many years but not things that people first navigating these sorts of things would already take in to account so glad you mentioned. I find myself now talking quite regularly to young people that had "grown up" on digital acquisition and are now just gearing up to start shooting some analogue so there are many bits of knowledge to be passed on to these new pioneers. Anything we can collectively pass on to make their experiences and results more satisfying helps to keep a long respected medium still relevant. Great tips on the 16mm mags as well..... For the Arri SR cameras, I was perplexed many years ago with finicky steadiness and how mag spacer plate gap and pressure pad tension seemed to be part of the steadiness equation so maybe 15 years ago or more just started replacing every registration pin south of 1.256mm with a fresh pin and started re-furbing & re-setting the gate rails and pretty much took the mag out of the steadiness equation. Sometimes sound level at the film plane suffered ever so slightly but could always be tweaked by fine-tuning the pitch & stroke. Best, - Paul
  8. For a digital copy of a steadiness chart you can email me directly: paul@visualproducts.com and I will shoot you back a quick shot of a chart I did in our shop for Nikita at VCU that you can then print and use for your own steady tests. It is too large a file to attach here so need to go play outside.... It is a simple cell phone shot but will do the trick. I won't be able to spend time there answering any questions so please post anything here and I will answer as time allows- Just let me know you posted a question so I know to log on & check when I can. Best, -Paul
  9. Image steadiness test for 35mm film motion picture cameras: 1) Load a known good 400' magazine with fresh non-dated color-negative film stock. 2) After mounting on the camera body and assuring correct loop position, roll the shutter open exposing a frame of film through the open lens port. Reaching through the open lens port with a black "Sharpie" marker, trace the edge of the film gate on the film emulsion with a large "X" corner-to-corner filling the gate outline. 3) Line up a steadiness chart in the camera viewfinder fully filling the frame level and square with the framing lines within the viewfinder being critical with your focus and shoot a 100' pass at 24fps exposing as normal making sure to use an insert slate briefly at the head of the roll with camera serial #, date and "Steady Test" for reference. ***CLOSE OR COVER THE EYEPIECE!!!!!! during the pass and do not view while shooting as this can slightly jiggle the camera and nullify the test. 4) In a completely dark bag or room, remove the exposed footage and using film rewinds, back-spool onto an empty core to then be reintroduced into the feed side of the same magazine. Can down any leftover footage in the feed-side of the same magazine and store. Load the magazine as normal with the exposed footage and inch over until the "X" marked box reveals itself from the mag throat. 5) Re-thread the mag on to your camera being careful to not only get the mag loop into the correct relationship within your camera body but also to place the "X" box on the emulsion side of your loop precisely in the gate just as originally loaded. 6) The line-up of the steadiness chart to the camera must now be altered to reveal any steadiness issues for the second pass. To do this just "Dutch" the camera over slightly to the right or left by a few degrees trying to keep the center of the chart relatively centered to the ground glass cross hairs and lock down. 7) Again, close or cover the eyepiece and make your second pass. At this point, you can if you choose make the test reveal any steadiness issues at different filming speeds by marking the chart with a small piece of tape with frame rates; 24fps. (shoot 25'), 30fps. (shoot 25'), 36fps. (shoot 25') etc. up to the top speed of the camera. In the case of a non sync-sound camera such as an ARRI 35-III or 435 you would use a larger initial load, say at least 200' as you would burn through a lot more stock getting up to speed at higher frame rates and therefore would want to budget more stock for the camera to get up to speed and "settle in" at each frame rate for an accurate test. At any speed, at the moment of camera start-up a small amount of unsteadiness is not uncommon as the camera "settles in". ** This same test also works on all 16mm cameras however there is no need to mark an initial frame as each frame is relative to each perforation along the film edge. In closing, this method of double-exposure steady test will reveal the camera's image steadiness capabilities and rule out any observed image movement introduced by a factor after the camera such as an unsteady film transfer machine or a worn projector film plane. Just observe the line pairs from the two chart exposures relative to one another for your answer. Written by Paul Scaglione Monday, 3/27/2017 for Nikita Moyer at Virginia Commonwealth University
  • Create New...