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Pentaflex 16mm


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#1 Benjamin Gueguen

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Posted 27 November 2006 - 02:37 PM

Hello everyone,

I've got a few questions for you about this machine. I've looked throught the web and didn't find alot of informations about the pentaflex ak16mm. It seems to be a nice piece of equipment.

I'm a student and i'm working with a Bolex H16 reflex for now. I'm looking for a non-sync camera and the pentaflex seems to have a few nice features: 12 to 96FPS, quick load magazines, nice optics...

Does the Pentaflex camera can be put on a tripod via a normal hotshoe? From the pictures I've seen it seem to not be the case...

Does the pentaflex have better standard optics than the Bolex?
How is the viewfinder?
I know there is a spring motor with this camera. How does it work?

I know I've got alot of questions :D
If there's a web page with informations you can just send me the link.

Feel free to discourage me to purchase this camera!
Thanx!

Ben
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#2 Film Runner

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Posted 27 November 2006 - 05:40 PM

Hello everyone,

I've got a few questions for you about this machine. I've looked throught the web and didn't find alot of informations about the pentaflex ak16mm. It seems to be a nice piece of equipment.

I'm a student and i'm working with a Bolex H16 reflex for now. I'm looking for a non-sync camera and the pentaflex seems to have a few nice features: 12 to 96FPS, quick load magazines, nice optics...

Does the Pentaflex camera can be put on a tripod via a normal hotshoe? From the pictures I've seen it seem to not be the case...

Does the pentaflex have better standard optics than the Bolex?
How is the viewfinder?
I know there is a spring motor with this camera. How does it work?

I know I've got alot of questions :D
If there's a web page with informations you can just send me the link.

Feel free to discourage me to purchase this camera!
Thanx!

Ben


Ben,

I own one. It is a piece of junk...

The viewfinder is decent, lenses very nice but the film transport and magazine is total garbage. And the camera is way toooooo loud. You can have it run by a spring wound motor or a arri like external motor that mounts under or on the side of the camera.

Unless the thing is in mint condition.... You will have problems with scratched film, film that jams every 20-30 seconds, broken film, registration problems and magazine loading problems.

But yeah, it's pretty to look through the viewfinder with the Zeiss Jenna lenses.

I venture to guess that when the thing was new that the camera was okay but used the weak points are the film transport and film magazine.

I'd stick to your Bolex Rex. Why would you want more than that?

The next step really would be renting an Arri SR, Aaton or Eclair. Or maybe owning a CP-16 if you want to own a camera that can sound sync dialogue without breaking the bank.

My 2 cents.

F.R.
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#3 Richardson Leao

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Posted 27 November 2006 - 06:39 PM

Don't forget the kinor 16-sx. Very strong and reliable camera and it costs less than one day rent for an arri.

there's one in ebay right now that is going quite cheap with mags, power supply and several lenses, and i don't think you can ever regret in having one.


Ben,

I own one. It is a piece of junk...

The viewfinder is decent, lenses very nice but the film transport and magazine is total garbage. And the camera is way toooooo loud. You can have it run by a spring wound motor or a arri like external motor that mounts under or on the side of the camera.

Unless the thing is in mint condition.... You will have problems with scratched film, film that jams every 20-30 seconds, broken film, registration problems and magazine loading problems.

But yeah, it's pretty to look through the viewfinder with the Zeiss Jenna lenses.

I venture to guess that when the thing was new that the camera was okay but used the weak points are the film transport and film magazine.

I'd stick to your Bolex Rex. Why would you want more than that?

The next step really would be renting an Arri SR, Aaton or Eclair. Or maybe owning a CP-16 if you want to own a camera that can sound sync dialogue without breaking the bank.

My 2 cents.

F.R.


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#4 Film Runner

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Posted 28 November 2006 - 05:28 PM

Don't forget the kinor 16-sx. Very strong and reliable camera and it costs less than one day rent for an arri.

there's one in ebay right now that is going quite cheap with mags, power supply and several lenses, and i don't think you can ever regret in having one.


Kinor 16-SX is way overrated in my box. It is way to loud to sound any sort of sync dialgue.

CP-16A can be had at the same price. Easier to load, maintain free and as quiet as can be.

I have used CP-16A's that are quieter than an $30K Arri SR.

A $200 K3 will do as much for you as a Kinor.

Maybe even more since the K3 has single frame!

My 2 cents.

F.R.
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#5 Richardson Leao

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Posted 29 November 2006 - 01:37 AM

I'll have to disagree with you here. The kinor produces 42db, this was post a while ago and this was posted (by another member) a while ago (sync with kinor):

http://plaza.ufl.edu...ta/dialogue.mp4

I am working in a project now and all the dialogues are recorded while I am filming in sync. No way a K3 would be able to do it. Also, magazine loading cannot be simpler than the kinor but as we say in brasil, gosto e igual cu, cada um tem o seu.



Kinor 16-SX is way overrated in my box. It is way to loud to sound any sort of sync dialgue.

CP-16A can be had at the same price. Easier to load, maintain free and as quiet as can be.

I have used CP-16A's that are quieter than an $30K Arri SR.

A $200 K3 will do as much for you as a Kinor.

Maybe even more since the K3 has single frame!

My 2 cents.

F.R.


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#6 Film Runner

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Posted 29 November 2006 - 08:54 AM

I'll have to disagree with you here. The kinor produces 42db, this was post a while ago and this was posted (by another member) a while ago (sync with kinor):

http://plaza.ufl.edu...ta/dialogue.mp4

I am working in a project now and all the dialogues are recorded while I am filming in sync. No way a K3 would be able to do it. Also, magazine loading cannot be simpler than the kinor but as we say in brasil, gosto e igual cu, cada um tem o seu.


42db is way too loud for a camera to do real sync work. What do you do in a parked car? How about dinner table conversation. Sure if you shoot at 50mm or longer and keep the camera FAR away you can get away with it.

But a $200 K3 with a blanket or puffy jacket wrapped around it will do the same thing. If you have the sync motor on the K3 you don't have to worry about tail slating every shot.

I've shot dialogue shoots with a clcokwork $200 K3 wrapped in a jacket. Front and tail slated every shot. No sync problems off the clockwork motor.

I venture to guess I could get closer with that sound proofed K3 than your loud 42db "sound camera"...

Plus the Kinor has no single frame. And the Kinor is and heavy.

A CP-16 is a far better choice for the money than a loud Kinor.

Anyone who shells out $1500 for a Kinor when you can get a CP16 for about half that is crazy.

Kinor users are wannbe Arri users. Why spend twince as much for a louder camera.

F.R.
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#7 Stuart Brereton

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Posted 29 November 2006 - 12:41 PM

42db is way too loud for a camera to do real sync work. What do you do in a parked car? How about dinner table conversation. Sure if you shoot at 50mm or longer and keep the camera FAR away you can get away with it.

But a $200 K3 with a blanket or puffy jacket wrapped around it will do the same thing. If you have the sync motor on the K3 you don't have to worry about tail slating every shot.

I've shot dialogue shoots with a clcokwork $200 K3 wrapped in a jacket. Front and tail slated every shot. No sync problems off the clockwork motor.

I venture to guess I could get closer with that sound proofed K3 than your loud 42db "sound camera"...

Plus the Kinor has no single frame. And the Kinor is and heavy.

A CP-16 is a far better choice for the money than a loud Kinor.

Anyone who shells out $1500 for a Kinor when you can get a CP16 for about half that is crazy.

Kinor users are wannbe Arri users. Why spend twince as much for a louder camera.

F.R.


Just a heads-up for 'Film Runner' - real names are required on this forum. You can change your screen name and add a signature in My Controls.
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#8 Leo Anthony Vale

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Posted 29 November 2006 - 03:53 PM

But a $200 K3 with a blanket or puffy jacket wrapped around it will do the same thing. If you have the sync motor on the K3 you don't have to worry about tail slating every shot.

I've shot dialogue shoots with a clcokwork $200 K3 wrapped in a jacket. Front and tail slated every shot. No sync problems off the clockwork motor.


Why not wrap your puffy jacket around the Kinor?
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#9 Film Runner

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Posted 29 November 2006 - 05:33 PM

Why not wrap your puffy jacket around the Kinor?


Yup, that would work but you would be spending more on a camera than you need to...

If I spend $1,000 on a camera. I don't want to have to soundproof it with a jacket, pillow, etc.,,

Hence my love for the CP-16!

F.R.

Just a heads-up for 'Film Runner' - real names are required on this forum. You can change your screen name and add a signature in My Controls.


You wanna check my I.D. ????

It actually says Film Runner, legit California DMV issued Driver's License.

Assume nothing...

F.R.
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#10 Stuart Brereton

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Posted 30 November 2006 - 11:33 AM

You wanna check my I.D. ????

It actually says Film Runner, legit California DMV issued Driver's License.

Assume nothing...

F.R.


If that's your real name, then my apologies. You have to admit it's unusual.
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#11 Film Runner

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Posted 30 November 2006 - 11:38 AM

If that's your real name, then my apologies. You have to admit it's unusual.


Yeah, I'm kinda crazy. I though changing it on my license, when that was an easy, walk in I want my name changed to blank blank was cool thing.

Now the laws have changed and I have to go to court to changed back.

Ah, the stupid thing you do in youth.

F.R.
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rebotnix Technologies

Media Blackout - Custom Cables and AKS

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Broadcast Solutions Inc

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Glidecam