You find your definitive answer by loading up 100' of 35mm and shooting a test. Cameras with that much mileage/years on them all have their own quirks. You absolutely need a capping shutter with an Arri 3 (and most other mirror reflex cameras) and even then...This guy has a capping shutter on his 2c but you can still see light leaks around 1:39:
Phil Thompson said:
God where can I find a definitive answer for using the arri 3 ?
Ah, the Arri III... great workhorse MOS camera from the 80's... the first 35mm "production" camera I ever AC'ed (My Wall didn't count) in '85. It wouldn't register as cleanly as cameras with dual pins, but we used it pretty successfully over the years, even for VFX. It was also the cheapest rental camera when the 235's and such came out, so we kept using it right up until about '98 or so.
I never did use it for time-lapse or animation, as these light leak stories were common even then, and I would have had to rent it, then test and that was too much money when I could just use my Bolex or my 35mm Wall. It's pretty loud (like a sewing machine!) running 24fps, so for sync sound we used the appropriate BL3 or BL4.
Is the intervalometer from Norris? What lenses do you have with it?
For time-lapse, stop motion, here in 2012 you'd be much, much better off with an under 600 dollar US Canon Rebel T3i and a few Nikon manual lenses. In fact, buying a 400' roll of film, processing and transferring will set you back almost that much for one test!... add in the fact that the lack of uber pin registration combined with anything less than high end scanning will negate any marginal "value" you might get from film... remember, you're controlling your lighting and can with care won't need that last bit of dynamic range you'd need for live action shooting in an uncontrolled environment.
Oh, and there's no "romance" to not being able to see your work as you go... trust me on that. You'll not be able to check shot by shot, but rather scene by scene at best. Blah, I'm done with film!
Not trying to make you feel bad, I actually think it's really cool. I'd LOVE that camera setting in my studio for show and tell...
Film has a vibe that you'll never get with a canon 5D plugged into frame thief. Yeah, it's more expensive film, more margin of error. But boy when you get that neg back. And when it works. thats magic. Life is short. But I'd take a Phil Tippet AT-TAT walker scene over a DSLR vibe any day.
Phil, I'd never get between a man and his vibe. :)
Best of luck and report back often... there's years of one-frame-at-a-time film experience here on the site if you run into issues...