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Old 08-23-2017, 11:54 AM
tubecameraLA tubecameraLA is offline
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Join Date: Aug 2017
Posts: 5
Looking for Tube Cameras

Hey all,

Was recommended to post on VideoKarma as maybe you guys could help me out.

I'm working on a production based @ Sony in Los Angeles and we're looking to find old tube cameras, from the 60s/70s/80s to shoot real footage on, for use in the film.

Our film takes place across multiple decades and we would like to add that authentic look, but so far really good working tube cameras have been hard to find, and although I have a few options via private collectors, we're looking for more.

If anyone here has any to rent/buy, or could point me in the right direction, I would greatly appreciate it.

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Old 09-15-2017, 06:51 PM
Ralph S Ralph S is offline
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Join Date: Jan 2008
Posts: 153
IO Cameras available in LA

I have 3 cameras which might be of interest to you, 2 RCA TK-30s and 1 RCA TK-31. All have been rebuilt and work. The TK-31 puts out a good picture as do the others. When do you need one or all? Please advise. (
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Old 09-15-2017, 10:14 PM
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MIPS MIPS is offline
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Join Date: Jun 2014
Location: West Canadia
Posts: 573
If you are specifically looking for broadcast cameras I cannot help you however if you are looking for the newvicon, plumbicon or Trinicon tube cameras with shoulder-strapped tape recorders from the early 80's I have a half dozen different cameras to choose from that I know all work and are trivial to get a composite video signal from without anything fancy, or even the tape recorder.

IF you want to borrow something a little more vintage to the Sony brand I do have a paired DVK-2400 and VCK-2400 that I have rebuilt but still has a few odd issues related to video sync.

Last edited by MIPS; 09-15-2017 at 10:57 PM.
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Old 09-15-2017, 10:16 PM
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Boobtubeman Boobtubeman is offline
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Join Date: Jun 2007
Location: Woodland Ca.
Posts: 835
Good to see im not the only one with a pile of those cameras..

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Old 09-27-2017, 06:46 PM
site123a site123a is offline
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Join Date: May 2006
Posts: 239
Be careful about loaning anything valuable to the studios, they tend to be abusive to movie props.

Case & point

I would have been happy to give one of my tube cameras to this guy, but after I read it was for a Sony movie, that idea went down the shitter. I'm still pissed how Sony pictures fucked Ghostbusters...
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Old 09-27-2017, 10:09 PM
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MIPS MIPS is offline
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Originally Posted by site123a View Post
Be careful about loaning anything valuable to the studios, they tend to be abusive to movie props.

Case & point
It's called a Damage Deposit. As part of the loan agreement you hold a lump of money from the loanee, so if the materials are returned damaged or destroyed they don't get the money back.
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Old 09-28-2017, 10:15 AM
Chip Chester Chip Chester is offline
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Join Date: Apr 2012
Posts: 630
Loan? Nope. Rent! Plus still have that damage deposit, and out of that comes cleaning and repairs, too.

The ultimate case for stuff like this is the custom car guys, who get a contract to design and build a unique car for a film, then a fee to be on-set to babysit/fix it, then bill for those repairs, but then it's still their car and design when the film is done. This is most often a contract with the details spelled out, rather than a time and materials thing.

Or the clothing designer Bob Mackey (sp?) who did tons of dress and wardrobe design for shows and movies of the day. Kind of the go-to guy in his time -- Carol Burnett, Cher, etc... He actually rented the gowns/clothes to the production, rather than selling them. So he (or his estate, don't know status) has warehouses full of classic movie wardrobe bits for auction or rent.

Of course, you need to have the specific skill or merchandise the production designer wants in their movie to pull off this arrangement.

In this case apparently, that means portable tube cameras that work and fit the visual requirements of the film. The opportunity would be rental, on-site care and feeding to keep them working, damage deposit/repair charges (because it looks like they are both production equipment and props) and shipping both ways for the gear and you and your tools. (You don't want some other uninitiated tech inside your lovingly-restored gear.) And insurance for all. Plus room and board if you're out of town. Remember to charge both for your time on-set plus your downtime, since you're not really at home to do whatever you want. Plus a car. Have the production put you up in their hotel, so you're not on your own for travel, off-set meetings, etc. (If you try to get in that hotel on your own, it'll likely be 'full-up'.) Basically you build a business for this one thing. That's what a film production company does, too.

Now if you go down this path, they may insist on your financial responsibility for downtime/delays in production if your stuff isn't working correctly, plus liability insurance on you and your actions if you end up electrocuting an actor, or leaning against something that falls over and hits something or someone expensive. It's a two-way street.


Last edited by Chip Chester; 09-28-2017 at 10:18 AM.
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