First 35mm, Konvas 1KCP-1M coming from Krasnogorsk 3

[Matthew B Clark]

Parajanov even shot Sayat Nova on an early Konvas with the Rheostat motor and OCT-18 lenses! There's photos of him kicking about where the camera is clearly visible but I can't find any right now.

 

Freya

 

 

Well THAT just shot a hole through the last 40-odd years of camera technology advancements. Just kidding, but it's nice to see such masterful work done on what is today regarded as a primitive camera (and lenses). I guess that's the case with all classic films though...being that they obviously have that in common (that camera systems of today did not exist then! Sounds obvious, but it's really a funny trump card the old systems can play on their modern counterparts if validation should be needed...). Though to be totally honest, Valerie..., Pomegranates and even Daisies too get their looks primarily from the lavish set design and costume, so there is that aspect of it all too. These are really films where I'd imagine almost any semi-professional camera system would render a beautiful result. Especially as compared to some of the carelessly monotone gray dreck out there full of arbitrary and uninspired locations...but that's another story and purely a taste thing (I just prefer the fantastique and the magical....a synaesthetic approach). Anyway, sorry to ramble on and on...I am happy to hear that these old cameras can be artfully coerced into beautiful situations.

[Will Montgomery]

 

How about the Moviecam Compact too? I have seen some great looking kits kicking around cheaply lately. Of course the big problem then is what lenses are you going to use with it!

 

Freya

Great camera and probably a better choice than the Russian camera but the Arri III's are everywhere and with the decline of 35mm use, I'd rather have a camera with the most parts & accessories available and one that is so universally serviced. I see hundreds of Arri 2c, III and 435 mags when I'm looking but almost never see Moviecam mags. They are out there but just harder to find. Think 10 years down the road when 35mm is much harder to find and camera parts & techs even harder.

[Matthew B Clark]

Thanks Will! I am so interested in the Lomos...and the Konvas...but also I would love an Arri III for the extreme stability and the 120 fps. I might just save up my pennies in the meantime and strike when a great deal pops up...one of those deals where you can look at it and just tell what's up.

 

In the meantime, I did have a related question....I picked up some new glass for the K3....an SMC Takumar 50mm / 1.4 and a Carl Zeiss Jena Sonnar 135mm / 3.5. I am thinking to myself....ok....sharper primes on the K3 now...loaded with 50D (VERY fine grain, even for 16mm)....am I already in the same ballpark "grain-wise" and "sharpness-wise" as say, if I got an old Knovas loaded with Lomos and shot on Wittnerchrome 200D reversal?? Which supposedly has massive grain?? I mean, I guess what I'm saying is, I'm trying to play with the threshold of "how tight 16 can get" before it starts to get into the lower regions of 35mm resolution...and vice versa, how "low" 35mm can get before it starts looking like great 16....these are my sorts of barometers for purchasing....because they tell me things about what is and isn't necessary to get a certain look going.

Edited April 30, 2014 by Matthew B Clark

[Freya Black]

In the meantime, I did have a related question....I picked up some new glass for the K3....an SMC Takumar 50mm / 1.4 and a Carl Zeiss Jena Sonnar 135mm / 3.5. I am thinking to myself....ok....sharper primes on the K3 now...loaded with 50D (VERY fine grain, even for 16mm)....am I already in the same ballpark "grain-wise" and "sharpness-wise" as say, if I got an old Knovas loaded with Lomos and shot on Wittnerchrome 200D reversal?? Which supposedly has massive grain?? I mean, I guess what I'm saying is, I'm trying to play with the threshold of "how tight 16 can get" before it starts to get into the lower regions of 35mm resolution...and vice versa, how "low" 35mm can get before it starts looking like great 16....these are my sorts of barometers for purchasing....because they tell me things about what is and isn't necessary to get a certain look going.

 

I recommend you watch the following movies. "The house of the Devil" by Ti West. This was shot on Super16 and really captures the look of a low budget 35mm movie from the 80's. Then check out "Black Swan" and "Moonrise Kingdom" which have more of the feel of a really high quality 16mm movie from today so are good for seeing how far you can go in a more modern look.

 

Lenses are definitely a big factor to the look you get on film as well.

 

It's a shame we are not on the same continent! lol! :)

 

Freya

[Matthew B Clark]

 

I recommend you watch the following movies. "The house of the Devil" by Ti West. This was shot on Super16 and really captures the look of a low budget 35mm movie from the 80's. Then check out "Black Swan" and "Moonrise Kingdom" which have more of the feel of a really high quality 16mm movie from today so are good for seeing how far you can go in a more modern look.

 

Lenses are definitely a big factor to the look you get on film as well.

 

It's a shame we are not on the same continent! lol! :)

 

Freya

 

Agreed! But the shame is all on my side of the water, since everything I have an affinity with is either in Europe or your island!

 

The Ti West approach seems fairly similar to what I'm after (in a way), so that's good to hear. I know you get what I'm after...that mixture of technically professional, proficient results, but with a definite "ratty" quality too. The visual equivalent of say, recording on 1/2" analog tape. You can still use incredible amps, microphones, and mixing console, but you purposely limit your "recording medium" to make sure you get your mix into a saturated, organic, ooey-gooey media. Interesting about Black Swan and Moonrise Kingdom too. Though those definitely feel to me like they are a bit more crisp and clean. My set design might just be the key to remedy that though. Like we were saying about Valerie...

[Matthew B Clark]

But more than the Ti West style...I am really looking to work in an authentically "old" way. In the styles of say Walerian Borowczyk's "Docteur Jekyll et les femmes"

 

http://www.youtube.com/watch?v=Q1QqW5K5BR8

 

Or Jean Rollin's "La rose de fer"

 

 

But the gold standard....the GOLD gold is ARREBATO! I love this guy for making this.

 

 

These are the types of films I like. Their concepts, and their technical artistry. I mostly also love the processes. Something that is undervalued today, but was once an accomplice...

[Rudy Velez Jr]

Matthew,

 

Its refreshing to see another person on this board who uses the same equipment as me and enjoys similar movies. Its a shame i do not live in Chicago cause then we could link up and work on some projects.

 

I am in the same boat as you. I have made the "plunge" into 35mm, literally diving head first. I have done some shooting with my beloved K3, and enjoyed my results, mind you I have only used natural lights and just shot tests and stuff around my limited base of friends and family.

I was extremely happy with my exposures and my ability to measure the exposures with my sekonic 408 light meter. Some of the compositions I created just from my simple camera placement were pleasing and some of the locations I choose were interesting. Just loading the K3 is fun for me, and I love that camera soo much. The zoom lens on it so sharp and lovely, I can go on and on it about it. I would imagine my images would be better too, if I (A) removed the plastic loop informers and (B) had my film scanned ( and for that matter processed) at better facilities then the places I go to, but this I will have to experiment with in the upcoming summer. I have had most of my stuff telecined and I am never going to back to that, from now all my stuff that I shoot will be scanned, even my super8 stuff, i know it will be more expensive but worth it in the end.

 

K3 lenses:

I love the 17-69 zoom lens and the 8mm peleng fisheye. the peleng becomes a wide angle lens with amazing depth of field when placed at good distance from your subject, when you move in close to your subject which you can do with the Peleng, like literally inches away from the subjects face, the fisheye effect becomes apparent, think of that the shot from fear and loathing when depp is tripping on acid and stares at the bellhop, the distortion you get will mirror that shot save for the vertical swirling effect which I imagine is an added digital effect to the fisheye lens he employed.

 

last summer I attached the peleng to my k3 and took the leather strap from the leather case and attached it to my k3 and went off riding my bike around the city and captured some awesome shots, i tested the lens at night and in a parking lot, and I can tell you it was quite pleasantly surprising. Despite not having ANY lights set up, I could see a lot of depth in the parking garage at night in in the dark, i forget whether I had the lens at 3.5 or 5.6 but still impressive, I can only imagine if I had actual lighting equipment. I never went for the Takumars, but if I were gonna to get more m42 lenses, I would get a 50mm, 37mm, 135mm, 1000mm, 20mm,58mm, and 300mm, and 85mm jupiter, all russian just to test them out. I know that most of these would be telescopic and extreme but still I would like to see it for myself the way it looks. I always wanted to do some astrophotography with my k3 and hook it up to that 1000mm lens but I wondered if the lens itself would protrude into the mirror of the k3, perhaps using the russian teleconveter I purchased a while back would prevent this but have yet to use it in conjunction with my k3.. If and when I purchase the 1000mm lens I will post my results.

 

There are some K3 cameras that had a crystal sync motor on them. they fetch like a grand today but are scarce. I think it would be worth getting but thats me, cause you could do amazing things with the camera if you could actually shoot in crystal sync 24, never mind the camera noise that would not hamper anything and you would have to work around it, the mobility offered by the k3 is worth it, also the image quality. Imagine doing a 2 minute long take with the camera, very appealing. Sadly it would no longer be hand cranked and you would need a battery, again bescor battery back to power it up but no big deal, get two and a charger so when one drains the other is charging. You might want to look into that.

 

so onto the Konvas. I was able to purchase a Konvas cameras with motor recently, looks like its in good shape. I still have to save up and work to afford to get these cameras serviced, the main problem i have so far is that the magazines are in poor condition and need a full overhaul, luckily Olex does them, sadly he is busy fixing some Anamorphic lenses for some other customers and will not be able to take new orders until he completes his work the anamorphics but Olex is the man! He is amazing technician and is super nice and answers your questions in a timely fashion. Send him an email if you have any real questions about the Konvas.

 

 

If you get a konvas make sure you get the 5a fuses for the motor(raf camera sells these), and make sure you scoop up as many 17epk motors as possible, this is the crystal sync motor, you could get the regular 15 motor but lacks crystal sync 24fps. In terms of battery, I probably would say get a bescor battery, but before that have the motor converted to 4 pin XLR, again this something Olex can do. a while back I purchased a cine60 belt I am not sure its voltage but it needs to be recalled, luckily and amazingly the cine60 store still exists and is in nyc so I can just take a train there and leave it there for the people of cine60 to recall, i think it will run be like 300 dollars, I also have a light for the cine60 complete with filter but I do not have the bulb, hopefully they can supply me with one, its pretty cool, but most folks use Bescor, check it out on BH website.

 

The 2M/8M is the better konvas however there are a few 1MS on ebay from Moscowphoto, whom I purchased my k3 from and is trust worthy. You could purchase one from him, which has the crystal sync motor, and then save up a little bit and send it to Les Bosher in the UK( paying for that s&h roundtrip will be killer so save up) and have him converter the turret into a single lens which is preferred, you have him make it Nikon mount, OCT 19, mount or PL mount, I have seen some with both a PL mount and OCT 19, so that might best. Nikon mount works if you find a Eyemo and want to upgrade but I do not know if you can put a follow focus on a nikon lens, if you can go with that.

 

 

Here is the thing, yes we all want PL MOUNT but the lenses themselves are REALLY expensive. now you could get all the m42 lens you have come to enjoy converted to PL mount particularly the Russian m42 mount lenses, which I have seen on ebay and wonder how they look when used with 35mm film, then you could use PL mount but people will tell you whats the point, the point being that you can afford some lenses and have the PL mount so when you have the money you can rent great glass from your local rental company. Right now I am opting to stick with my OCT-19 mount and collect OCT-19 lens. I understand they are not has good as Zeises ultra primes but again I have a few of them and will use what i have...People will say the lomo lenses are soft but forget that, while it is true, you don't need ultra sharp lenses and I presume you can compensate for the softness with lighting,but i am no expert. Plus you seem to like the same films as me, the Czech new wave stuff, tarkovsky, color of the pomegranates, the lenses they had at time they shot their movies was probably close to the OCT 19. Tarkovsky shot with a konvas for all of this up until Andrei Rublev, after the I think he shot with western cameras, i have photos of him with an arrifelx bl camera for the sacrifice and nostalgia, but i digress.

 

i love walerian borowczyk as well, have you seen the beast, totally far out movie, i also like goto and love rites. I can't say I've seen dr jekeyll mr.hyde, thats a pretty rare on his works. one of his movies i want to see is the margin also known as the streetwalker, with emanuelle herself and joe d.

 

check out my friend ivan lapshin by alexi german, i am sure it was shot on konvas..also the work of larisia sherpikvo, which i am sure i spelled wrong but is available on criterion collection, her film Wings is extraordinary, she was the wife of Elem Kov, the guy who directed Come and See.

 

What dvd version of arrebato do you have, i have been looking for a nice remastered version. Awesome film taste! I found some information about that director in an old book in my schools library and took a photo of it with iPhone. He died shortly after that movie, he may have done something after it but I am not sure. I was researching Spainsh filmmakers after I saw Spirt of the Beehive, which blew me away. I always kinda of new about about Arrebrato I read up on it cause while visiting one of the many mondo dvd retailers i frequent I saw read description for it and thought I NEED to see this. The guy who made that shot films entirely on super8 and it would be so cool if that was remastered and released!

 

I have a few OCT-19 lenses and the man thing i am worried about is storing these badboys, see I live in NYC and we undergo various and crazy weather. when its cold its cold and when its hot freakin' hot. I have to make my way to B&H or Adorama probably on Sunday, since they are probably closed Saturdays, to look at the Pelican cases and decide which one I want, and which would fit my Konvas 2m camera body and motor? I would consider hari-kari if any of my lenses caught mold or fungus since they appear minty. So that is my concern. I could get a pelican case used but then I would have to replace the o-rings and the foam and for that might as well get a new one and the buy extra foam and o rings for the future. Also I would probably want a RucPack so I can make the case backpack and a humidifier to eliminate any and all moisture.

 

 

I have seen on eBay these lens storage kits that look like wine bottle storage units except they are marketed for camera lenses, these camera lens storage units have temperate control and led lights inside to illuminate the inside. However I am a bit leery about purchasing them since, they are made in Asia and I feel would be poorly manufactured and arrived damaged/broken. I was at a local store in my area and saw a wine bottle storage case for sale for roughly the same price and it basically has the same features and look, led temperate read out and control and some led lights inside for illumination. So is it worth purchasing these lens storage cases? Could I just buy a wine bottle storage case which it looks like does the same thing and then set the temperature appropriately?

 

I will surely have more, I have had time yet to really play with mine since i have been busy earning some $ and writing, but now that the weather in nyc is getting nice, I will be out and about taking pictures and shooting 16mm until my konvas are ready.

 

how can i get my ground glass made into 1:85, can that even be done? would I have to change my gate?

[Rudy Velez Jr]

wow that post above i made is filled with a crapload of grammar and spelling mistakes but i am too lazy to go back and correct myself so take what you can from that lol

 

also jean rollin is the man, the iron rose being one of my favorites. I purchased a really great movie of his but sadly the copy I have is like a vhs transfer to dvd, i got it on the street, i think its called rape of the vampire but here is what i remember, two chicks commit a robbery and then make their gateway to an abandoned castle ( how rollin, right?) and the girls are wearing clown uniforms, i believe they kill some dude who helped them in the heist before couping up in the castle, then I grew frustrated with my poor copy and told myself this is no way to watch a Jean Rollin movie and stopped.

 

are you a fan of lucio fulci or dario argento?

Edited May 2, 2014 by Rudy Velez Jr

[Gregg MacPherson]

 

I think Lomo's are great. So many great soviet movies shot with lomos, what's not to like:

 

 

 

 

Hey Freya,

On behalf of the non or semi educated, I ask, don't be coy. Give us a title so we can search on this film.

 

Cheers sister!

[Matthew B Clark]

Hey Gregg, that's the Color Of Pomegranates. By Sergei Parajanov.

[Gregg MacPherson]

Cheers.

[Gregg MacPherson]

Just started on a fairly crisp version of Color Of Pomegranates without subtitles on Youtube.

http://www.youtube.com/watch?v=k6Nzu3qaLfA

My mind immediately fell into an unguarded state. Just stunning, so interesting I can hardly stand it, needed a break. I'm afraid now to watch a subtitled version, in case it all becomes something else. So is the child human or expressing the idea some kind of deva? I'm enjoying not really knowing.

Edited May 3, 2014 by Gregg MacPherson

[Matthew B Clark]

Rudy! Hey, the east coast is a lot closer than you think! Maybe over time if we get to know each other a little better we could work on something! I don't see that as impossible at all!

 

Rape of the Vampire is Rollin's very first feature from 1968 (it's in black n white and is REALLY hodge podge like an old serial or a Georges Franju film but it RULES!!!) but I think what you have is Requiem For A Vampire (you described those girls dressed in clown make-up engaged in a police chase who hide in the castle with the vampire). That films rules too. Iron Rose I loooooove though, yeah! It's just the most "distant from horror" and really allows Rollin's visual poetics to absolutely flourish in one, hugely extended allegory (the lovers in the graveyard). Beautiful beautiful beautiful. A lot of technical people will probably hate him! But he is a total unsung poet.

 

Yeah, we are definitely on the same wavelength. It is very nice of you to provide such detailed information on your experience, which yeah, pretty much exactly replicates my concurrent situation! It's really funny that we both sort of gravitated to the same gear in the same succession and have the same sort of cinematic influences!

 

I'm going to try to dig into those Konvas resources you mentioned. That's really cool of you to provide, so thanks for that. I figured for now a 35mm might be a long term project (like yours is too though I suppose since you're doing mods and repairs now and still shooting the K3). I just picked up yeah, a couple key M42 primes. A 135mm and 50mm. Plus the stock 17-69 zoom, which yeah, is REALLY good so far...and yeah I have been shooting it with that and the Peleng 8mm, so now I have 3 primes and a zoom. I do need to snag a lazer sharp 20mm and then I think I'll test this K3 to see how much detail I can pack onto 16mm for sure. The 50mm 1.4 (SMC Takumar) just came today and I popped it on immediately to test it out and yeah, it is sharp and really seems to have smooooooth focusing compared to that zoom. All in all, I am saving for a Konvas package though, so I'll keep my eyes peeled based on your recommendations, pitfalls to avoid etc, and espeically yeah those mod resources! Thanks for that man.

 

As for the films....

 

Yes, I love Fulci and Argento! Both actually started me along this weird winding road, and I know they led me down that dark path to even deeper caves full of these hidden lustrous black opals like Rollin and Borowczyk. It's funny you mentioned La Marge! I just watched that the other night. It's a really well done film! Silvia Kristel and Joe Dalessandro star in it. It's really got an emotional ending too. A very good pay off. I've not seen that much by him actually, but he is really someone I admire from what I have seen. He's a pure and original personality and it really shows his fingerprint on his work. Dr. Jeckyll and His Women is probably the dumbest title but don't be swayed by that or you'll miss what may be his best film! It culminates so SOOOO beautifully in the last scene, and some of the performances are just ridiculous. Udo Kier is in it and so is Marina Pierro (Marina Pierro was also in Rollin's LIVING DEAD GIRL - ever seen that? It's the lest Rollin-ish with poetics taking a backseat to gore, but the story and some of the scenes are TOP tier Rollin).

 

Arrebato - I got a nefarious underworld DVD copy from "my dealer". It's pretty good quality though. There is a German label who did killer 2XDVD complete with a documentary of Zulueta making Arrebato. That supposedly has English subs, so it's definitely on my list. Right now I'm actually working on bringing a print of it over from Spain to show here in the fall in a series.

 

Anywho, YEAH DUDE. Keep doing what you're doing and watching what you're watching!

[Matthew B Clark]

Just started on a fairly crisp version of Color Of Pomegranates without subtitles on Youtube.

http://www.youtube.com/watch?v=k6Nzu3qaLfA

My mind immediately fell into an unguarded state. Just stunning, so interesting I can hardly stand it, needed a break. I'm afraid now to watch a subtitled version, in case it all becomes something else. So is the child human or expressing the idea some kind of deva? I'm enjoying not really knowing.

 

I don't want to tell you if you enjoy not knowing!

[Matthew B Clark]

Hey Rudy, this what you have under "Rape of the Vampire"? This is definitely Requiem....

 

[Rudy Velez Jr]

Hey Matthew,

 

yeah that movie is the one i am referring to not rape of the vampire. You should check out the film movie called "Camera Buff":

 

I saw Camera Buff without subtitles and still understood most of it, that says a lot. Plus the main guy shoots on the russian super 8 camera, the kind of super 8 that uses spools not cartridges, probably 50ft spools then upgrades to a K3, probably bayonet. This was my introduction to Krzysztof Kieślowski

 

How did you see La Marge its so hard to get a copy of at least from my end. I hear the soundtrack is interesting.

 

There was this French horror movie I saw that was similar to a Rollin movie, Un couple d'artistes It was includes on my copy of girl slaves of Morgana Le Fay.

 

also for any fans of Rainer Werner Fassbinder check this out its not subtitled but it is immensely cool, as you can see the most rockstar director ever, direct and act(with Franco Nero no less) his last movies. I have to figure out a way to download it off youtube..https://www.youtube.com/watch?v=yXQEDczATf0

 

check out this trailer:https://www.youtube.com/watch?v=GxfAfCAJ_gI

Edited May 3, 2014 by Rudy Velez Jr

[Dan Dorland]

I have nothing useful to add, only that I'm so glad to see some fellow K-3 lovers!

[Matthew B Clark]

Dan, you have something to add! But yeah we may have to re-route this into the 16mm or "K3" thread haha!

 

Rudy, Camera Buff looks great...I haven't seen that. I assume you're linking that to Arrebato in comparison right? Oh...that film Un couple d'artistes short is great! It is a really good litmus test for people like us too....how to make a decent short film "in this vein". It reminds me a lot of the old Roger Corman film "A Bucket of Blood". Bucket of Blood is black n white but it has the same central idea. It's really weird seeing Dick Miller working that early, and in lead roles! I always remember him from my childhood as a janitor in Chopping Mall and the like. Always there...and GREAT, but yeah, in the background of some B movie roll. Girl Slaves of Morgana La Fey is TOTAL Rollin style, yes. It has that same sauntering spirit. Love that movie!

 

As for La Marge, yeah the soundtrack has some Pink Floyd on it and a lot of 70's British rock which lends a bizarre feel to it because it takes place in Paris brothels and is spoken in French, so there is this uncanny charm to having familiar music like that permeate it. I'll PM you later about where to get a copy.

 

Also, Kamikazee '89! That is definitely the most wacked out neon noir idea ever. Still haven't seen that but am totally gonna watch that. Fassbinder was unbelievable. I just picked up a copy of Lili Marleen and am stoked to get that down my cerebellum.

 

I have not seen My Friend Ivan Lapshin, but that preview looks incredible. Thank you for showing me that! Did you say that was filmed on a Konvas?

[Matthew B Clark]

Un couple d'artistes - a good way to spend 13 minutes on a Saturday morning with a cup o joe!

 

[Rudy Velez Jr]

no but I am guessing/hoping it was.

 

i also want to say I am cuba was shot with a konvas. I think i have read somewhere that ivans childhood and andrei rublev were also shot with the konvas. people have said that the konvas was the 1st camera in space and to that i saw where can one see this footage?

 

camera buff is a movie that actually shows someone using a k3! Get on the bus apparently has some scenes shot with a k3 as well, and there is a picture of spike lee with one, some ebay sellers highlight this. So I guess you can mix 16mm with 35mm, so i can still use my k3 with I film with konvas is in the future.

 

dick miller is like harvey kietals brother, it sucks that tarantino cut that scene out between them in pulp fiction but you can see it on the deleted scenes on the dvd.

Edited May 4, 2014 by Rudy Velez Jr

[Aapo Lettinen]

I think i have read somewhere that ivans childhood and andrei rublev were also shot with the konvas

 

 

Andrei Rublev also has Rodina footage in it. as far as I know it's mostly shot with Lomo square front anamorphics and some version of Konvas was also used

[Rudy Velez Jr]

oh wow square fronts!

[Will Montgomery]

I guess what I'm saying is, I'm trying to play with the threshold of "how tight 16 can get" before it starts to get into the lower regions of 35mm resolution...and vice versa, how "low" 35mm can get before it starts looking like great 16....these are my sorts of barometers for purchasing....because they tell me things about what is and isn't necessary to get a certain look going.

Here's something Kodak put together that might help. My rep gave me a less compressed version somewhere but maybe you can get something out of this video that compares Super 16, 2-Perf 35mm & 3-Perf 35mm.

 

The truth is, Super 8 can get really close to 16mm these days, especially Vision 3 50D in sunlight. Same with Super 16mm and 35mm...but there IS a difference. You'd notice it most in lower light situations but there is a sharpness difference for sure. Maybe you can rent a 35mm camera for a weekend and do some test shots to see if it makes sense for you to own a 35mm camera.

 

[Matthew B Clark]

That's an excellent guide. Thanks Will!

[Vitaly Kolesnik]

Hello everyone ! I will try to talk a little bit about motors for cameras konvas .

A lot goes to the motor konvasov 15eps . This motor is powered by a voltage 7,5-8v suitable for non-synch sound recording. The stabilization speed for tacho sensor.

http://s015.radikal.ru/i332/1506/f5/59c950054b1a.jpg

http://s50.radikal.ru/i130/1506/fa/1efae6af0673.jpg

There is also a motor - 18eps 16apk . This motor is powered by a voltage 12-16v . With quartz stabilization frames 24/25 . There is also a mode variospid 8-32 frames per second . Conveniently enough motor. Is the battery charge indicator - very convenient!

http://s017.radikal.ru/i432/1506/5e/5b98cea3f785.jpg

http://s020.radikal.ru/i701/1506/d0/b705893c260e.jpg

http://s017.radikal.ru/i429/1506/31/7f49402c08d7.jpg

http://s011.radikal.ru/i315/1506/1b/81140fe58b72.jpg

The top motor for the cameras konvas - it 17ep - 16apk or 19ep - 16apk . They operate with a voltage 12-16v , all speed quartz stabilitsatsiey . Electronics is one block from the motor. But this engine is heavier than all the others , and the total weight of the camera Lenses with cassette and 120 meters, turns heavy.

http://s017.radikal.ru/i402/1506/2b/efbb8d76e7d6.jpg