I loved our Arriflex. Couldn't afford its care and feeding today, though.
Even in 1975 it cost about $11 a minute to turn it on. That was the number
that ran in my head while shooting; I think it was total cost of film,
processing, and one copy one-light work print.

On the subject of "sound on film," I was once asked to help out a public TV
station whose intern shot some critical footage with an Auricon. Kind of a
cubical camera that recorded sound directly on the optical sound track.

Problem was, the kid held the camera upside down. How to fix it without
going shipping the film 120 miles to nearest available (prohibitively
expensive) optical printer? Oh, and there was a "film at eleven" kind of
time crunch, too.

Got a couple of friends in and we dismantled the stations film chain (which
was basically a projector/camera combination) and temporarily inverted the
camera -- the projector wouldn't run upside down; couldn't be cooled in
that position.

If you are of recent vintage and want to imagine the analog world we all
lived in, just think slow, cranky, and everything you do cast in bronze.

I am out of here now, before I get the OT boot!




On Mon, Apr 8, 2013 at 1:16 PM, Ralf Mardorf <[email protected]>wrote:

> On Mon, 08 Apr 2013 21:11:50 +0200, Pete Wright <[email protected]>
> wrote:
>
>> I have been at it 75 years now.
>>
>
> I'm 46 years old and have never seen an Arriflex when working. We used
> analog video before the Betacam was released and later with the Sony
> Betacam, much later still the Sony Betacam, but the digital version. Sure,
> studio cams in Germany were Bosch.
>
> If I would win much money, I would buy an Arriflex.
>
> I don't like audio on analog film, neither magnet nor light audio tracks
> are ok, but that's another issue.
>
>
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