2 perf

[Michal Grabowski]

Are there any silent 2 perf cameras?

[John Holland]

Panavision have a Panaflex 2 perf.

[David Mullen ASC]

Panavision have a Panaflex 2 perf.

 

And Arriflex will start making a 2-perf movement available for their Arricams around now, for the Arri rental houses only.

 

And when the Aaton Penelope comes out, it will have a 2-perf option.

[John Sprung]

Are there any silent 2 perf cameras?

Originally most 2 perf was done using Arri IICT's in Cine-60 or Arri 120-S blimps. The smaller mass of film being moved makes less noise in the first place, so the blimps work even better with 2 perf than 4 perf.

 

 

 

 

-- J.S.

[victor huey]

There are at least 10 kinor 35H sync 2perf cameras that i know of as well. 6 owned by solid entertainment of sweden, 2 privately owned in New York, and one in LA, and one in New Orleans. I know of two Kinor 35H to be converted in the near future. Check with the konvas uers group.

[victor huey]

here is a photo of karl kim's 2 perf Kinor 35H

[Daniel Smith]

Aaton Penelope.

 

Arri made 2-perf movement blocks, but the Aaton is speicially designed for 2-perf. (But it does 3 perf aswell)

[Stephen Williams]

Aaton Penelope.

 

Arri made 2-perf movement blocks, but the Aaton is speicially designed for 2-perf. (But it does 3 perf aswell)

 

Hi Daniel,

 

As far as I know Penelope is not yet available.

 

Stephen

[David Namir]

If two perf is half from 4 perf, as far as framing, then what formats can we have if we consider that the width of the frame remains the same? And if we want 4:3 what negative area will be there? Is it going to be much more than super 16? Does anybody has all the calculations?

[Hal Smith]

If two perf is half from 4 perf, as far as framing, then what formats can we have if we consider that the width of the frame remains the same? And if we want 4:3 what negative area will be there? Is it going to be much more than super 16? Does anybody has all the calculations?

The only practical formats are widescreen ones like 2.40, and 1.85. The original uses of 2-perf were for Techniscope movies in Italy like the spaghetti westerns ("The Good, The Bad, and the Ugly", etc.)

 

http://en.wikipedia.org/wiki/Techniscope

[Bruce Taylor]

Ho- I've been out of the loop.

Regarding Victor Huey's post, I have the 2 perf Kinor 35H in LA. Just got it and shot some tests last week, but have not had the footage telecined yet. I think 2 perf is a very viable option compared to S16 for wide screen. I can't remember the figures now, but I believe 2 perf 35 has something like 40% more film real estate for 1.85:1 compared to S16. There is a lot of information out on the internet and on this list if you do some searching.

 

Here are some resources you might find interesting if you haven't already found them:

http://konvas.org/faq/what-is-2-perf-also-...echniscope.html

http://en.wikipedia.org/wiki/3-perf_and_2-perf_pulldown

http://www.2perf.arandafilm.com.au/

http://www.abelcine.com/articles/index.php...6&Itemid=34

http://www.widescreenmuseum.com/widescreen/wingts2.htm

http://jkor.com/peter/techniscope.html

 

And here is an interesting comment from Anders Banke (I hope he doesn't mind my repeating it here) concerning shooting 2 perf Kinors on his feature "Frostbiten": "On 'Frostbiten,' the majority was shot on Kinors, Lomos and in 2-perf. For various reasons we had to shoot some of the film on an Arri 3-perf camera using Zeiss lenses. The interesting thing is that on some scenes where we use both cameras and the different lens systems, you CANNOT see the difference, it?s impossible to tell which shot was done by what camera / lens..."

 

BTW, mine will be available for rent in about a month after running tests. I attached a photo of it, I hope it comes through.

 

 

Bruce

[XiaoSu Han]

how much does it weight?

 

do you have a rod support system and follow focus to go with it?

 

regards, xax

[John Sprung]

If two perf is half from 4 perf, as far as framing, then what formats can we have if we consider that the width of the frame remains the same? And if we want 4:3 what negative area will be there? Is it going to be much more than super 16? Does anybody has all the calculations?

The stroke for 16mm is 0.2994" IIRC, and for two perf 0.3732". So, even for 1.33:1 it has more image area. Super-16 is width limited for 1.85:1, so the difference is even larger. With two perf, you have four nice big B&H perfs and lots of room for handling on the edges. With Super-16, you have image within 0.020" of the unperforated edge, and only one little hole per frame.

 

 

 

-- J.S.

[Bruce Taylor]

how much does it weight?

 

do you have a rod support system and follow focus to go with it?

 

regards, xax

 

Hi,

 

I think it weighs about 30lbs with 500ft mag and a prime lens (I need to weigh it exactly). With the electric handgrip and a pad on your shoulder it works well in handheld configuration, and a steadicam guy told me he thought he could fly it. Yes, it comes with a rod system and follow focus (single or double sided), also a video tap and Anders Banke's latest and most sophisticated digital motor control. Full set of Lomo primes + a zoom. I'll have my website up in a few days (www.Indi35.com) with more details.

 

Bruce Taylor

909 641-2339

sales@indi35.com

[Paul Bruening]

Hey, rent mine, man!

 

It's only over 100 pounds. Great for hand held. You can't even hear it when shooting at the epicenter of an earthquake or ,even, standing next to an accelerating locomotive.

[Leo Anthony Vale]

Originally most 2 perf was done using Arri IICT's in Cine-60 or Arri 120-S blimps. The smaller mass of film being moved makes less noise in the first place, so the blimps work even better with 2 perf than 4 perf.

 

Since Techniscope was first used in Italy, there were no blimps. All post sync sound.

 

http://www.arrimedia.com/files/arrimedia.c..._VisionARRI.pdf

 

Go to pages 42 and 44. Not much new there, except that Mitchells were used on 'Once Upon aTime in the West' as the main cameras. Probably S35R/Mark IIs.

 

Recently there was a Techniscope conversion kit for a Mitchell BNC/NC which came from the Universal camera department.

They and Paramount were the two major users of Techniscope in the US.

You can bet that 'Robinson Crusoe on Mars' was shot with Mitchells.

 

"Mitchell Camera Corporation, whose 35mm studio cameras dominate the sound stages of most film production centers, was among the first to announce Techniscope conversions for Mitchell 35mm cameras and Arriflex 35mm cameras. In an advertisement in American Cinematographer for January, 1964. Techniscope conversions for the Mitchell BNC and NC were quoted as "approximately $1.400 per camera," and for the 35mm Arriflex. "approximately $1,300," "

 

http://www.widescreenmuseum.com/widescreen/wingts2.htm

[Mark Bliss]

Hi

 

I have used several 2perf silent cameras, they were converted Arri BL 4, and also a Movicam America,

 

I used them to shoot a feature film and also a several shorts and music videos,

 

the company in australia is no longer in business and I don't know what happened with their gear,

 

regards

 

Mark

[chuck colburn]

While not a sound camera, here's a package for sale.

 

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...s_promot_widget

[Adam Frisch FSF]

I've heard that Arri will soon introduce a 2-perf movement to the ArriCam.

[Dan Goulder]

Hey, rent mine, man!

 

It's only over 100 pounds. Great for hand held. You can't even hear it when shooting at the epicenter of an earthquake or ,even, standing next to an accelerating locomotive.

Isn't that an awfully cumbersome BNCR adaptor you've got on the XL-2?

[Paul Bruening]

LOL. I was trying to come up with a simple, phantom power solution for my shotgun mic. Are two cameras too much?

[James Steven Beverly]

That's a bit of an over kill on the video tap don't ya think? :rolleyes:

[Paul Bruening]

Naw, all I was doing was combining a 24P tap camera sensor, 16:9 video records for dramatic dailies, 16 bit two track sync audio recording with phantom power all in one unit. The XL2 solved these issues in one mounting. Never mind that it pokes out. Look at any professional film camera these days. They all look like some kind of metallic sea monster with stuff poking out in every direction. Mine's no different. At least all of my shiznet is in one place.

[Hal Smith]

Naw, all I was doing was combining a 24P tap camera sensor, 16:9 video records for dramatic dailies, 16 bit two track sync audio recording with phantom power all in one unit. The XL2 solved these issues in one mounting. Never mind that it pokes out. Look at any professional film camera these days. They all look like some kind of metallic sea monster with stuff poking out in every direction. Mine's no different. At least all of my shiznet is in one place.

I Dub Thee FrankenMitchell.

[Paul Bruening]

I Dub Thee FrankenMitchell.

 

I like.