visual products...

Post by **rollemfilm** » Sat Jun 19, 2004 4:27 am

Looky at Visual Products new web page:

http://www.visualproducts.com

sweeeeet!!

Post by **sunrise** » Sat Jun 19, 2004 11:24 am

I don't see the 8mm button anywhere?

sunrise

Post by **MovieStuff** » Sat Jun 19, 2004 2:06 pm

I noticed they carry a CP16 in Super16. I guess that answers the question about whether or not CP16s can be modified for S16. Also, I am astonished at the low price tag for the S16 CP. Only $6500? Wow. According to the specs:

Package includes 15-150mm Angenieux, 2-400 ft magazines, 2-onboard batteries, charger, Super 16 groundglass, right
handgrip, case, fully serviced and repainted.

That's a heluva lot of camera for only $6500, if you ask me. I think Derrick Whitehouse has been selling standard (non S16) CP16s for about the same price with one mag, one battery, no lens and no case. Amazing, really. A studio quiet Super 16mm camera for $6500. There's your HD camera for cheap! 8O

Roger
http://www.moviestuff.tv

Post by **rollemfilm** » Sat Jun 19, 2004 4:29 pm

They use to have a super 8 page a while back.

Roger, Did you look at the rebuilt CPA cameras. For $2,500.00 you can get a very nice standard 16 camera package. Lens, mags & body. I think that that is an even more impressive package considering the cost of a good super 8 camera with a crystal. This is the type of camera used to shoot films like "Don't Look Back" and "Monterey Pop."

Albert Maysles used a modified Auricon to shoot his early films. This was before Frezzi or CP were doing business with Bach-Auricon.
If I was in the market for my first 16mm camera, I would consider the CPa.

This web page also contains one of the best descriptions of the super 16
regular 16 debate.

Post by **downix** » Sat Jun 19, 2004 4:58 pm

*wipes the drool up*

Nice packages. 8)

*returns to tinkering with his pin registration system*

Post by **Basstruc** » Sat Jun 19, 2004 7:23 pm

They do CP16 to Super16 conversion for 2000$ and with PL conversion for 2500$. Anyway, I think this camera is pretty ugly. Even repainted. Will never be cuter than a Eclair ACL (with 200ft mags) or aaton's.

Post by **MovieStuff** » Sat Jun 19, 2004 7:33 pm

Basstruc wrote:They do CP16 to Super16 conversion for 2000$ and with PL conversion for 2500$. Anyway, I think this camera is pretty ugly. Even repainted. Will never be cuter than a Eclair ACL (with 200ft mags) or aaton's.

True but they sure are dependable. I used to have one long, long ago and shot miles of footage with it. Most youngsters here wouldn't know but the CPs used to shoot mag striped 16mm reversal. Yep, that's right. 16mm single system sound. Good stuff for location voice recording. Couldn't be any simpler. XLR inputs and everything. Ahhhh, the old days......

Roger
http://www.moviestuff.tv

Post by **Nigel** » Sat Jun 19, 2004 8:25 pm

I agree with Basstruc...You can't find a more sexy camera than an Aaton. As for the CP16 it is a solid camera--But 6500 seems expensive. You could maybe get them to come down a bit but not enough to make it worth while in my eyes.

The new website is nice overall except that they have the SR for the S16 cameras when Arri has always looked down on S16.

Good Luck

Post by **Basstruc** » Sat Jun 19, 2004 8:39 pm

Most youngsters here wouldn't know but the CPs used to shoot mag striped 16mm reversal. Yep, that's right. 16mm single system sound.

Yes, like auricon too. But how good was the sound ?

6500 seems expensive

Totally agree. Could buy an eclair with angenieux, get it serviced, for less.

Post by **Basstruc** » Sat Jun 19, 2004 8:42 pm

I agree with Basstruc...You can't find a more sexy camera than an Aaton.

There's an old moto saying : "A rock guitar has to be chosen in front of a mirror". Is it the same for us ? I feel it with my 4008.

Post by **MovieStuff** » Sat Jun 19, 2004 9:56 pm

Nigel wrote: As for the CP16 it is a solid camera--But 6500 seems expensive.

For a multispeed, crystal synched, studio quiet Super16 camera with two mags, two batteries and a lens? Show me something cheaper than $6500 in Super 16. In fact, show my any other Super 16mm camera at that price range withOUT all those extras thrown in.

Roger
http://www.moviestuff.tv

Post by **rollemfilm** » Sat Jun 19, 2004 11:14 pm

Cinema Products (CP) and Frezzolini are what became of the Auricon line.

Here is a bit of info I just discovered; early sound films were made on 35mm, single system, optical sound cameras. Some films were made on a disc system (33rpm), but this gave way after a short period to the single system sound camera. Soon after, the optical recorder was designed.

I had no idea that a single system 35mm camera was ever made and used for major Hollywood features.

Post by **Scott Spears** » Sun Jun 20, 2004 12:01 am

I've bought a few things through Visual Products and most of it worked out well. I did buy an Arri 16mm BL which had some noise problems. They were great and let me take two Elcair NPR cameras for a shoot and pick the best one as a replacement. I grew to love that NPR. I've moved up to an SR.

Scott

Post by **Scott Spears** » Sun Jun 20, 2004 12:02 am

I've bought a few things through Visual Products and most of it worked out well. I did buy an Arri 16mm BL which had some noise problems. They were great and let me take two Elcair NPR cameras for a shoot and pick the best one as a replacement. I grew to love that NPR. I've moved up to an SR.

Super-8 stuff does show now and then. It's probably best if you call them to see what's really in stock.

Scott

Ooops, sorry for the double post.

Post by **MovieStuff** » Sun Jun 20, 2004 12:02 am

Yes, I used to own an Auricon. They recorded both magnetic and optical sound. Never tried the optical but the mag sound was fine. Even recorded a friend playing guitar and the audio was crisp and steady.

Roger