Good sync sound Camera
Posted 31 March 2006 - 10:38 PM
1)CP-16r my first choice
2)Arri 16s with conversion
3)Auricon? I see these things for cheap all the time. What is "sound on film"? can it record sync sound? is there an image problem because they don't seem popular. why?
Also, how hard would it be to Shoot exteriors in super 16 and blend in digital from a pd-170 or other high end digicam for an indie feature? It would be way easier to shoot sound and talking heads, but would it look lousy?
any advice would be appreciated.
Posted 31 March 2006 - 11:19 PM
...3)Auricon? I see these things for cheap all the time. What is "sound on film"? can it record sync sound? is there an image problem because they don't seem popular. why?...
The Auricon cameras were popular for shooting newsreels back 20-50 years ago. Originally they recorded optical (photographic) sound on film. More recently they were supplied or adapted for magnetic sound on film. The optical was not very good, and required a ton of expensive batteries to power the tube amp while the camera still needed AC to run the motor. The magnetic no longer exists because the film manufacturers no longer supply mag striped raw stock. Many of the Cine-Voice 100' cameras were adapted to use 400' Mitchell magazines, to have a DC or crystal motor, and so forth. The CP (Cinema Products) is a knockoff of the Auricon movement, and some say not as good. The cameras tend to be heavy.
On the positive side, the cameras have excellent registration and are quiet and use standard C mount lenses. They were never made with a reflex finder, but you could use a zoom with a built-in finder. They require AC power such as with a long extension cord or a crystal inverter from batteries. You can record double system sound on fullcoat, or on a Nagra by using a step-down transformer as the source of the 60 Hz pilot signal, if the camera has a synchronous motor. (The Pro-200, Pro-600 and Super-1200 did, as did some of the Cine-Voice cameras.) Of course, if the camera was converted to crystal then you should be able to use it just like a more modern camera.
Posted 01 April 2006 - 12:22 AM
2)Arri 16s with conversion
An Arri 16S is not a good sync sound camera, and what conversion are you referring to? If it is a Super 16 conversion, those can have some serious issues.
Also, how hard would it be to Shoot exteriors in super 16 and blend in digital from a pd-170 or other high end digicam for an indie feature?
Super 16 footage would be very difficult to blend with footage from a pd-170. The pd-170 is an NTSC video camera with no option for progressive recording. It is also not that high end and the latitude and resolution won't come close to Super 16 footage shot on Vision 2 stock with good cine lenses.
You might be okay with DVCPRO50 footage shot on an SDX-900 or an HVX-200, but even the DVX-100 shooting in 24P progressive is not going to have the latitude or resolution you will get with Super 16.