Where I am going with this?

Well you can see how the system I have described works, you will also observe that the performance of the sound recording, slating & synchronization is likely to be very good. You will also observe that the performance of the VISUAL aspect of the system may 'frame up' accurately with a camera of a suitable focal length & a coupler. The quality of the image will depend greatly on the condition of the reflex system in the particular camera used, in an ACL it will not be flicker free.

This is a primary requirement for this application, so I will leave you to develop the 'lite' version if you wish, on an SR it will be flicker free. So why persevere with the ACL? Well you will begin to see in later postings that there is a solution and an early ACL may be picked up quite inexpensively, unlike SR!

This is a simple application using an ACL with a KINOPTIC viewfinder. The fabrication is also optimized for the inexpensive readily available Canon ZR40 series camcorder. This is how it works...

The super16 ACL is shown to illustrate the method of mounting, using a bracket. It can be seen that the camcorder fits snugly into the eyepiece. The view is clear & in COLOR, but not flicker free being an ACL; the focal length of the Canon ZR40 camcorder is 10mm, other Canons are 8mm or less which would be best if you want a Super16 frame, as would a lens coupler... have a look at this excellent ACL resource Video Tap. Viewing is via the camcorder eyepiece or LCD which may be adjusted for viewing at many angles.

This particular format has many benefits FOR SOUND RECORDING AND EASY 'SYNC SOUND' EDITING. A Splitter is used at the stereo 48kHZ Cd Quality sound input of the camcorder; the two channels are assigned accordingly...

Channel One is fed from an professional WIRELESS Microphone, Audio Technica is this case... the mic may be placed discretely in the scene, Omni or Uni as desired.

Channel Two is fed from a small electroset mic mounted near the camera head; this track is thus composed of two parts. Firstly an " AUDIO SLATE" from the operator containing whatever information you require. Secondly you have an " AUDIO BLOOP " when the camera starts up. This is easily identified in a linear editor for easy sync sound editing...

The principles may be applied to almost any movie camera, the mounting bracket may be regarded as a 'saddle ' for the camcorder & ancillary equipment, in other cameras like the ARRI, the view would be ' flicker free'. The technique for sound recording, slating & synchronization is PROVEN, if little known; I have added only a wireless microphone & a modern camcorder. Using a camcorder, one may also use the SVideo output to drive a larger monitor, also the firewire connection may be linked to a LAPTOP for REAL TIME Audio Visual recording & editing... with an internet link the shoot may even be watched on line in real time!