For old film farts

[geezer]

Go to Ebay and type in "Bolex Pro". I guarantee you won't see many of these around.
I believe a few got used on American Sportsman but like the Willicam single system camera they are mighty rare beasts.
BTW does anybody remember Auricons attempt at something like this? I remember seeing some ads but no camera. I wonder if any were ever built?

[Shaky & Blue]

Dang, I've never even heard of that. It looks like it's modeled on the Arri BLIII. Thanks for showing it to us.

For those too lazy to search, here's the direct link:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=4691&item=3830024909&rd=1&ssPageName=WDVW

http://i16.ebayimg.com/02/i/02/31/51/81_12.JPG

I wonder what powers it, and if it can be converted to Super 16.

[<I remember>]

WSVN Miami, then WCKT, had a few of these in the early 70s. They had a mag stripe recorder/amp option. It was powered with a battery belt. HEAVY, HEAVY, HEAVY.

[Terry E. Toller]

The coaxial magazines were a bitch to work with until you got used to them. You actually have a twist in the film!

As for Auricon, Cinema Products made their first cameras from Auricon movements and frames. The conversions became very popular overnight and that opened the door for the CP16. My CP has a SE# of 0017. I had the second one in Sacramento! Funny, a stringer having better equipment than the staffers!!!

[souplinkmf]

Correct I do remember WCKT having those in the 70's

[David R. Busse]

I understand there were a few of these in LA (CBS).

[<desertcammo>]

The Auricon (for interviews) and Bolex (for b-roll) were the cameras used at my first job. When we finally got a couple of used CP-16's we thought we'd gone to heaven!!

[Terry E. Toller]

The CP16 WAS heaven! I felt sorry for the staffers with the auricons with wet cell batteries, 110 volt inverter and the MA 11 amplifier all bolted to a heavy shoulder brace.

One staffer got upset oneday and asked me, "How can a stringer have a CP when staffers have this c***?" I told him he was in the wrong union...

[geezer]

At my first gig we used clip jobs from Yoder, Frezzie, General Camera and an unmodified pro 600. 70DR's were there for cut aways.
The company finally did break down and bought a Yoder crystal 16. It had an audio pot built into the handle and that seemed pretty high tech.
After four years of that I jumped to a bigger market that had all CP16's. They did all the voice tracks on full coat and we cut all our packages onto sync reels for air. The shop had the incredible luxury of two film chains and, wonder of wonders, they were both the same color.
I made one more hop and landed at a shop that was just about to shut down its lab. I am pretty sure I shot the last film story in Omaha in 1982 when SAC gave us access to a pair of T-38 trainers for the afternoon. No way could you stuff a TK and a deck into the back of one of those so we dusted off a Scoopic for the air to air footage. It was fun.
It's been quite a trip from a Filmo and an upright Movieola to DVCPRO and NewscutterXP.
Still beats a day in a cube anytime IMHO.

[David R. Busse]

Geezer:
You forgot about the CP16s, the Yodercam and the Filmos we all shared at KOMU...

[Darrell Barton]

A rep from Bolex showed me a prototype of that thing back in the seventies. It was beautifully made but after handling it I realised that I could learn to play concert clarinet quicker than I could learn to operate the controls on their camera. I made some suggestions for change and the rep just stared at me and said...."Ve haf made it as it should be...and zat is how it vill be." I didn't know they ever sold any.

[<EVEMAG>]

I actually owned one and sold it to a film museum in Chicago. I also got to work with the guy who created the camera who worked in Toronto. The camera was large and the battery was a large brick that attached to a control box. The camera had two handles. One side had a power zoom and the other had a power focus. Besides multi speeds the camera could shoot 24 or 25 crystal sync. It also could shoot single or double system. The magazines weren't that hard to load, but for some reason it hated mag stripe B&W. Because of the pin registration like the Arri BL, the camera shot great steady pictures. I still have some of my original stock footage from this camera that still holds up today.