Arri 35BL-I gave European film makers (and eventually the American "Brats"), the ability to shoot studio-quality (double system) sync sound movies, but faster, on real locations – and even handheld – and with smaller crews and support equipment. (Due to the limited resources of the 1940s and 1950s the Italian Neo realists and French New Wave had evolved around the approach of shooting wild synch or "Noisy-synch" and then completely post-replacing all sound and dialog.) In America, The Panaflex became the industry standard motion picture camera, displacing the Mitchell legacy. GSMO The studio quiet 16mm Cinema Products GSMO was introduced in the mid-1970s. It had quick loading coaxial magazines, an 'in camera' light meter viewable in the eyepiece and an on-camera battery. The GSMO stood for "gun sight man operated". (Cinema Products would often develop products under government contracts, then adapt them for industry wide marketing.) The GSMO was popular among documentarians and low-budget independent producers. Jon Jost produced feature films shot with the GSMO. The PBS documentary film Post No Bills was also shot by Clay Walker using Jost's GSMO camera. The GSMO had crystal speeds of 12, 16, 24, 25, 32, 48, 64 FPS. Besides the standard 400-foot magazine, the GSMO offered a novel and rare 100-foot magazine. The 100-foot mag was the height of the camera, so the camera with mag would be only 5 inches tall. The GSMO did not have video assist, a way of viewing what the cameraman was seeing on a video screen. TV commercial producers and directors wanted video assist, and the GSMO fell behind the competition in that feature. (After-market video assist is now available for the GSMO). - Rare lens During pre-production for the 1975 film "Barry Lyndon", director-producer Stanley Kubrick had a requirement for a large aperture "high speed" cine lens to facilitate shooting scenes by candlelight. At the time, the largest aperture "fastest" cine lenses available for reflex 35mm cine cameras had a f1.4 aperture. High Speed (also called "Super Speed") f1.2 prime lenses were not available at the time. Kubrick sourced a Carl Zeiss Planar f0.7/50mm lens, an aperture two f-stops larger than f1.4. This was a still camera lens originally developed by Carl Zeiss for NASA's Apollo program. Ed DiGulio reluctantly agreed to take on the very difficult process of adapting this lens to a cine camera, which required modifying the lens and permanently modifying a