Paul Scaglione

We have a boat load of them... Give us a call! Visual Products Inc. sales@visualproducts.com or call (440) 647-4999

Hi David, Yes, that is the (vertical) parallax adjustment for the viewing screen and it has been right there through every version of the 16SR camera. The set screw is flanged from the rear and cannot extract for enough to cause film scratching. I've never seen one damage film in 37 years!

Hi Seamus, Have you considered an Arri 35BL-4 package? Sync-sound and really competitively priced as compared to the Arricam or even the 235... We just recently took in Haskell Wexler's kit and it is in beautiful shape. Call in and talk to Rick for details-

Hey Ben, We have many Aaton cameras with HD video assist including the 54 starting with a 7 going up to the Extera not to mention anything Arri your heart could desire. Give us a ring and let us help you explore the possibilities! Visual Products Inc. (440) 647-4999

We were so saddened to hear of Bernie's passing here at Visual Products. He was an absolute shining light in our industry and somehow through the somewhat mundane day to day business of keeping our industry plodding along through camera equipment modifications and service always made us smile when we heard his cheerful Irish accent peppered with a heaping dose of good spirited humor on the other end of the phone. Our hearts and condolences go out to Julie and his entire family. He will be so very missed the rest of our days-

Hi Robin, Yes! It follows the foot print of the original IVS electronics module so clears the top of the DC/DC-2 module.

Hello All, A couple of you had asked about side-mount cheese plates to mount accessory bits to in the shadow of where the old IVS control box mounted and availability is getting much closer... An industry professional that I was bouncing ideas off of during the development of the IVS unit had already been working on a really good cheese plate for the SR-3 and is in the manufacturing stages now. We will be offering the plate when ready for a projected retail of just under $400.00. Here's a teaser! Stay tuned & stay safe!

Hi Robin, I'm glad your install went well. Did you access the "How-to" video we put together for installation or did you just crack open the box and figure it out?? Major considerations during the design process were to make this thing "Plug & play" as we will no doubt have potential buyers overseas that would rather install it themselves rather than have to ship their camera body back & forth internationally. We do recommend whenever possible that we do the installation here but again, considerations were to make installation not require an engineering degree. On the subject of a side-mounted cheese plate, Yes! In early conversations with an industry professional that we were bouncing ideas off of, it was talked about as something that could and should be done to take advantage of that now lonely side-mount dovetail to allow mounting of alternative power sources, power distribution or whatever the heart desires however in conversation it was revealed that they or an industry partner was already developing something along those lines so it was decided to give them time to develop theirs and then we would either stock some of theirs and offer to buyers or point buyers to their product. We will give them a little more time to bring their product to life but if that timeline draws out too long may go ahead with manufacturing and distribution of something of our design. Post some pictures of your camera with your new tap installed! Thanks, -Paul

Shipping now!!! Here 'ya go. http://www.visualproducts.com/storeProductDetail02.asp?productID=2052&Cat=3&Cat2=46

New and ready to ship! http://www.visualproducts.com/storeProductDetail01.asp?productID=727&Cat=11

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...

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-

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.

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

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

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

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

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