CP16r Please help!

[Brian Drysdale]

Threading does take practise. You need to be careful about the loops: the bottom one needs to as large as possible - just before it touches the bottom of the camera. The top one is a bit easier to judge. However, it's a lot easier to thread than a Panaflex and you can do it in a riot (H & S warning - best done on the edges, not in the middle).

 

I never had light leaks through the V/F on the CP16R I used, but there were different V/F types out there. The mags are more likely to cause problems, the latches on the CP mags can spring open, so you really need to tape the doors and the latch holding mag to camera can get knocked.

 

The video assist cover plate is on all the later cameras, you may find you'll need the video assist unit with the optics etc.

[Freya Black]

Ah! I was hoping the threading wouldn't be too bad. I knew that is was complicated and time consuming but I was okay with that because I can obviously do it in the light and see what I'm doing but it's more annoying if forming the loops is going to be a pain.

 

Matt was asking why I felt I needed other crystal frame rates. I guess I don't NEED them, just like I don't NEED the video assist but if I could shoot at say 12.5 fps then I would have more light and longer running times etc. Theres situations where that would be really useful. I can't imagine it being a popular upgrade when you already have 24/25 to play with however.

 

Thanks for all the tips guys! I'll definitely be taping those mags!

I hope I don't get through too much film working it all out!

 

love

 

Freya

[Paul Bruening]

Hey Freya,

 

Good buy on the CP16. Practice over and over and over on both the threading and the mag loading. Do both in the dark and entirely by feel. You can train your brain to know exactly what it is doing. I did this more than twenty five years ago when I shot the practice B&W and endzone game film in VNF for the local university. We had to thread in the dark on night games and practices and do it so fast that we never missed a play. Bitchy as those are to thread, you can get it down to flawless with only practice. Geez, I probably shot 200,000 feet or more of film on CP16s all for the sake of football. I love those old battle axes.

[ck filmworks]

How has the cp16 treated you Freya? I like the CP so much I own 2 of them. Welcome to the club. The CP camera works well with the Ang Zoom. Whitehouse audio and visual will rebuild it from scratch if you need it done. Visual Products will do the S16mm conversion if you have interest & they can also install a video tap. Ebay is perfect place to find used parts. Just ask questions, and get a guaranty from the ebay sellers.

 

There's a few recommendations I can add;

1. There's 2 types of cp-16r's. One has the bowtie shutter (135deg) and the other has the halfmoon shutter (156deg). The only difference that's noticeable is you might see a bit more flicker in the image with the bow-tie shutter. You cannot add a color tap to the bowtie shutter cameras. B&W is fine, though.

2. Try to find an orientable viewfinder if you can. Here's one currently for sale on ebay http://cgi.ebay.com/Cinema-Products-Orient...id=p3286.c0.m14.

3. Look for the CP Ultra-T prime lenses. I own a set, and they make my CP's footage look excellent. The set includes the 9mm, 12.5mm, 16mm, 25mm (most opening to T1.25). You might be able to rent them from smaller rental houses. CP created these lenses so the users in the 70's could make films using superior glass. I believe CP licensed the Ultra-T glass from Kowa. Images and footage attached.

4. Maintience is an issue. Have it looked at every 2- 4 years after rebuild/check-up. You can replace at least one of the motor belts yourself. I've done it. But I suggest having a local camera house in Europe rebuild or fix if needed. Whitehouse audio visual would be best, but he can get pricey. The rebuild he offers is a good deal.

5. Bite the bullet, and buy new batteries from Whitehouse av. My CP's usually run a whole day on only one battery. They last a very long time in my experience.

 

I always wanted to buy a CP, and lived a similar experience as you when I paid $800 for one on ebay. It came with the 12-120 zoom lens, mags, older batteries, and an extension eye-piece for the viewfinder. I had to buy new batteries. This camera I bought on ebay was owned and was used on the Faces of Death series (1970's- mostly used for the dramatized footage). I had that camera rebuilt, and then traded it with Ken (@Whitehouse AV) for another body that has a 30fps modification on it. I later found out David Giancola in Vermont (edgewood studios) was selling his 16mm CP's. David is another CP fan, and owns CP-S16 & CP35mm cameras (modified to 3-perf S35mm). (Serious CP lover). I bought a set of pristine Ultra T's from David at Edgewood (the same lenses used on his film Illegal Aliens with Anna Nicole Smith). Shortly after that, I bought one of his converted CP-S16r camera bodies with a b&w video tap. The same camera used on Illegal Aliens. (history of CP keeps going)

 

Here's some pictures of my latest film shot with my CP-S16R with the Cinema Products Ultra-T prime Lenses;

 

 

 

Here's some ads I shot with my CP & lenses;

http://www.ckfilmworks.com/footballfan%20ad.mov

http://www.ckfilmworks.com/movingday%20ad.mov

http://www.ckfilmworks.com/mandel.php

 

I really hope you enjoy your camera. It really is a great camera, and it only gets more interesting as people rediscover them.

 

Happy Shooting!

 

Todd C.

www.ckfilmworks.com