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Cameflex CM3 switchable Super 16 and Super 35 camera


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#1 LondonFilmMan

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Posted 09 November 2005 - 11:26 AM

I am being offered one of these (body only) for about $3.5K. is that good and, more to the point is this cam any good..... (a *switchable* Super 16 and Super 35 camera)....wowee...could be handy...what's the quality like on this baby and is it sync-sound silent? anyone have any idea?
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#2 David Mullen ASC

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Posted 09 November 2005 - 11:50 AM

A lot of material for "The Black Stallion" and "American Graffitti" was shot on the Cameflex, plus some French New Wave movies. As long as the registration is good, it should deliver good images (assuming you put good lenses on it.)

No, it's not quiet enough for sound shooting.
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#3 Stephen Williams

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Posted 09 November 2005 - 12:10 PM

I am being offered one of these (body only) for about $3.5K. is that good and, more to the point is this cam any good..... (a *switchable* Super 16 and Super 35 camera)....wowee...could be handy...what's the quality like on this baby and is it sync-sound silent? anyone have any idea?


Hi,

Its normally 35mm / 16mm switchable. Its possible that it has been modified to be 'Super 35 & Super 16mm'
Make sure that you have all the 'bits' for both formats!

Many people use them for timelapse, lighter but not as steady as a Mitchell.

Stephen
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#4 Adam Frisch FSF

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Posted 09 November 2005 - 12:51 PM

They have a unique ratchet-type of movement which makes them incredibly noisy, unfortunately. But the good thing is that the movement is so simple it just never breaks down and that the magazines are quick change.
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#5 Mitch Gross

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Posted 09 November 2005 - 02:16 PM

The first time I used one I thought it was broken because it was so incredibly noisy. Sounded like a weed-wacker next to my head! I was amazed that the French New Wave was actually able to make narrative feature films with the beasts--who could act with that racket blasting away?

This is a camera that is 35-45 years old, and that can mean a lot of issues for maintenance, accessories, etc. It also means that it will be very heavy and bulky for Super-16 work. If you are generally planning to shoot Super-16 sync-sound work then I would not reccomend this camera. Look at a CP-16 or Eclair NPR or ACL instead.
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#6 LondonFilmMan

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Posted 10 November 2005 - 12:32 PM

thanks for your replies everyone. Its good to know that its noisy. I think I'll take a rain check and check out CP-16 or Eclair NPR or ACL.
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#7 Andreas Burgess

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Posted 14 November 2005 - 01:50 AM

Hey - may be moot (sounds like you're passing), but I love this camera. My friend owns one and it's awesome. You'd have to have the mags for 16 and 35 (we only have the 35) to be able to do both. You can get a Tobin sync motor for a few hundred bucks (although they render the turret unuseable - 1 lens only). Apparently a lot of people have taken out the divergent turret when they refit them for PL or whatever - to make just one mount. But I've shot with in the desert muck for years and it's a tank and a half. I wouldn't want anything else out there. It's not right for every project - for sure - but it's a great camera to have around and its various motor (crystal / frame-by-frame / AC rheostat for uncompensated ramps) options have satisfied the tactile "old camera as machine" need lurking within us all on numerous occasions.
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#8 Clive Tobin

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Posted 14 November 2005 - 10:09 PM

You can get a Tobin sync motor for a few hundred bucks


I don't know where, we have been out of stock for years and still get requests for one, though not enough to warrant building up another batch of them.
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#9 Tony Rudd

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Posted 22 November 2005 - 08:18 AM

perhaps we can get clive to make up a batch of the sync motors. these cameras are inclredible although the price you were offered was way high in my books. i can get you one for about half of that and it would be fully serviced by an eclair specialist.
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