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CP-16r


Rudy Velez Jr

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25 fps is used by all the PAL television countries, most 16mm sync sound cameras were used to shoot film for TV programmes or in the case of the CP16 mostly news. It means that the sound is played back at the correct speed. 24 fps is the theatrical frame rate, which is also used in the NTSC counties.

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  • 2 weeks later...

No registration pin on the CP16A or CPR, or the Frezzi FR16, or the Auricons, which all have essentially the same movement.

 

You can load a CP incorrectly and it will sound fine and shoot and then you get your film back and it's all horribly scratched or it will have registration problems like in your clip, Rudy. There's a nice loading diagram in the camera if I remember correctly and it has to be followed exactly or else.

 

They put a ratchety noisemaker in the Eclair NPR that makes a hell of a racket if the loop is lost. Great idea. Arri 16S had something called the buckle trip, and the buckle trip override! Not as good an idea. I tried to explain the difference between the trip and the override to students and I think only about ten percent understood it.

 

What's great now is just how inexpensive all this 16mm gear is!

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Yeah if you take a look at the pictures on flickr that is my new cp-16r. I noticed my camera does not have this flip switch inside the camera, also some wiring is visible, I am wondering if that is normal or not? My gut tells me its not... I know I have to do something bout my bow-tie shutter/butterfly shutter.

 

As for lenses, I am looking at the 10-150mm annie. I wonder what a good prime lens would be, for like wide angle shots, establishing shots.

 

are the two mic ports on the cp-16r, usable? I plan on recording sound on a ZOOM H4N, could that somehow interface with this camera..probably not is my gut instinct but I put it out there...

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In the 1960s and 70s news gathering would be done with single system 16mm cameras using magnetically pre-striped stock and recording sound directly on the stripe. Then you could connect a microphone to (for instance) a CP16 equipped with single system recording capacity. Today I don´t see how connecting a microphone directly to a CP16 could be made to work.

 

You´re much better off attaching your ZOOM H4N to the carrying handle of the CP16 the way microphones and lights would be attached back then. This is assuming you want the 'one man band' style of shooting. Qualified sound engineers doing nothing but recording sound on the shoot will of course yield the best sound bar none.

 

I have a CP16R with the 156 degree bowtie shutter and have yet to see it cause smearing. The camera is capable of producing beautiful images, it´s quiet, takes 400 foot loads and image steadiness is on a par with the ARRI 16BL or SR1.

 

An added nostalgia bonus is that the threading inside the camera body is somewhat reminiscent of a miniature Panavision GII :)

 

Drawbacks of the CP16 is that it´s somewhat bulky and changing magazines is not exactly a split-second affair, though with practice it can be done reasonably quickly. If you want to run and gun with a CP16, bring it already laced up to your location (though of course with the lens removed to protect the camera during transportation).

 

Best Wishes

 

Lars

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I sold Mr. Velez this camera and I made it very clear to him that it had these issues before purchase. In fact, that video is my family and that is me playing guitar (a video I assumed was private and only for him to view to assess the problem). I actually refused to sell it to him once I got my footage back from Spectra but he insisted that he would have it serviced. He only paid about $300 for the camera so that seems reasonable to get it in "need service" condition. But he did have the option to back out. I just wanted to make this clear.

 

And for those who claim the loader didnt know how to load, I assure you that I know how to load this camera and practiced it habitually (in dark and in light) The camera is flawed and needs servicing.

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That seems to indicate the condition of the camera and Mr Velez's questions around the camera suggest that his knowledge is limited. At $300, you'd expect the camera to need serviced and further test film shot before seriously using it.

 

Re the loading, I wouldn't say that having one faulty load, doesn't mean that the person doesn't know how to load. I've had a similar effect on the CP16 after using the camera for hundreds of rolls. The lesson I learnt was to be generous with the loops, don't just follow the drawn lines go slightly larger.

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Relax,

 

Obiously, "Mr.Velez" knowledge is limited at the moment, THATS WHY I AM ASKING QUESTIONS on the forum..

 

I dont appreciate people throwing my name around, my name is rudy not"mr.velez", that just bugs me, I was asking questions, that I am entitled to ask.

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The text editor wouldn't let me, so continuing on.....

 

Guys like Brian are generous with advice (and he knows these cameras well). Try to enjoy and respect that and don't take offence too easily. The more you can figure out for yourself before you pose a question here the beter your question will be. Better questions lead to more interesting anwers.

Edited by Gregg MacPherson
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  • 3 weeks later...

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