Jump to content


Photo

First Eclair, which one to get?


  • Please log in to reply
35 replies to this topic

#21 Gregg MacPherson

Gregg MacPherson
  • Basic Members
  • PipPipPipPip
  • 1883 posts
  • Other
  • New Zealand

Posted 21 March 2016 - 02:12 AM

You may have to spool the 200' rolls yourself,  or get a lab to do that for you if you aren't confident.  Everyone used to do this kind of thing in the old(en) days.  Everyone was familiar with handling film,  cutting their work prints,  looking at their negatives,  so on.  Now people are less familiar.  But you could do it.  There are threads on the forum about it.  Read those and ask any questions.

 

I am a fan of the lens mount system on the ACL.  Being able to use the PL mount lenses from school sounds great.  But there are plenty of Aatons with a PL hard mount.  And the PL mount adapter for the ACL is the more expensive one on eBay.  They do come up as a separate item if you are patient.  You could also ask the forum to see if someone has one for sale.  But the best approach is to find an ACL that has all the components that you want.

 

There are 200' metal daylight spools.  This can help.  Not that hard to find once you start finding them.


Edited by Gregg MacPherson, 21 March 2016 - 02:14 AM.

  • 0

#22 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 12:35 PM

You may have to spool the 200' rolls yourself,  or get a lab to do that for you if you aren't confident.  Everyone used to do this kind of thing in the old(en) days.  Everyone was familiar with handling film,  cutting their work prints,  looking at their negatives,  so on.  Now people are less familiar.  But you could do it.  There are threads on the forum about it.  Read those and ask any questions.

 

I am a fan of the lens mount system on the ACL.  Being able to use the PL mount lenses from school sounds great.  But there are plenty of Aatons with a PL hard mount.  And the PL mount adapter for the ACL is the more expensive one on eBay.  They do come up as a separate item if you are patient.  You could also ask the forum to see if someone has one for sale.  But the best approach is to find an ACL that has all the components that you want.

 

There are 200' metal daylight spools.  This can help.  Not that hard to find once you start finding them.

 

I don't mind doing it myself, to learn it. But I am just wondering how. If I would order a 400 roll and then try to figure out how much 200ft is, or if you would do two daylight spools and attach together.

Yeah I think the ACL would be a better option, if not only for the fact that the Aaton Robert was selling probably went to someone that could offer more money (the struggle of a film school student).

I did find a new PL to C mount adapter at B&H, and considering the quality of the PL lenses we have I think it is a steal. But I still would want a S16 model rather than the standard 4:3, if not only, for the fact of getting the “cinematic feel”.

C


  • 0

#23 Mark Dunn

Mark Dunn
  • Basic Members
  • PipPipPipPip
  • 2431 posts
  • Other
  • London

Posted 21 March 2016 - 12:52 PM

You have to spool down single-perf film twice to get the perfs back on the correct side. But as Gregg says your lab would probably do it for you as a favour. They have the handling equipment.

I could do it myself but I'm cheating- I have a Steenbeck. But then I don't have a camera that takes long rolls.


Edited by Mark Dunn, 21 March 2016 - 12:52 PM.

  • 0

#24 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 01:08 PM

You have to spool down single-perf film twice to get the perfs back on the correct side. But as Gregg says your lab would probably do it for you as a favour. They have the handling equipment.

I could do it myself but I'm cheating- I have a Steenbeck. But then I don't have a camera that takes long rolls.

 

I usually develop through school. They have a decent deal with FotoKem, but I am not sure they would offer this, so it would probably be all up to me; maybe I can convice our FilmPost department to help out.

C


  • 0

#25 Gregg MacPherson

Gregg MacPherson
  • Basic Members
  • PipPipPipPip
  • 1883 posts
  • Other
  • New Zealand

Posted 21 March 2016 - 03:11 PM

@ Carl,

 

Search the forum and there is lots on spooling off.  Useful info,  and also non useful advice from those who do not know.  Entertaining.  Search first,  then ask.

 

Google search..."cinematography.com spooling down film" and you see http://www.cinematog...showtopic=63513

 

Start with Perry's post,  #3.  Though he says do it slow,  I did it quite fast and never had any trouble with static.  I'm sure there is advice in this or another forum topic on how to get the right amount of footage on a roll.  Have search,  read and ask any questions.

 

Spool off in a darkroom using a set of rewinds.  Darkrooms can be improvised. 


  • 1

#26 Volker Bendt

Volker Bendt
  • Basic Members
  • PipPip
  • 90 posts
  • Other
  • Germany

Posted 21 March 2016 - 04:00 PM

"I did find a new PL to C-mount adapter at B&H, and considering the quality of the PL lenses we have I think it is a steal".

 

A PL to C-mount adapter seems to be not the best option. A zoom lens might be a heavy burdon for C-mount.

You should try to find a PL to ACL adapter, unfortunately not a bargain.

But most ACL will come with Arri B adapter, and there are hundreds of nice lenses on the market.

 

Spooling down from 400ft. can easily be done without a darkroom.

I take an old Mag.from Arri 16S, load it with the 400ft. roll and an empty cor in the changing bag, then take it out, connect it with a 12 V battery and spool down, controlling the meter counter. Admittedly, the counter is not very precise, but with some routine you will get the point. Yes, the first portion has to be rolled twice, the second is just fine.

I have never experienced electrostatic issues..

 

Good luck,

Volker


  • 2

#27 Gregg MacPherson

Gregg MacPherson
  • Basic Members
  • PipPipPipPip
  • 1883 posts
  • Other
  • New Zealand

Posted 21 March 2016 - 04:08 PM

@Volker,

 

Using the 16S mag to spool down.  Very cool idea.  Me,  I would prefer a darkroom,  faster I think,  but a mag spooldown would be very handy in a tight spot.


  • 0

#28 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 04:28 PM

"I did find a new PL to C-mount adapter at B&H, and considering the quality of the PL lenses we have I think it is a steal".

 

A PL to C-mount adapter seems to be not the best option. A zoom lens might be a heavy burdon for C-mount.

You should try to find a PL to ACL adapter, unfortunately not a bargain.

But most ACL will come with Arri B adapter, and there are hundreds of nice lenses on the market.

 

Spooling down from 400ft. can easily be done without a darkroom.

I take an old Mag.from Arri 16S, load it with the 400ft. roll and an empty cor in the changing bag, then take it out, connect it with a 12 V battery and spool down, controlling the meter counter. Admittedly, the counter is not very precise, but with some routine you will get the point. Yes, the first portion has to be rolled twice, the second is just fine.

I have never experienced electrostatic issues..

 

Good luck,

Volker

 

Yeah, we only do primes at school. But I agree. maybe a dedicated ACL one instead (around 325 when I found them on some sites) would be better.

I did find even some newly made superspeed sets with the Arri-b connection selling just north of 10 000 dollars (which is not a steal for a student, but for a graduating student, maybe :) )

That models seems pretty smart since I have access to a lot of arri-s at school.

BTW Volker, sent you a PM, and a email :)

C


  • 0

#29 Volker Bendt

Volker Bendt
  • Basic Members
  • PipPip
  • 90 posts
  • Other
  • Germany

Posted 21 March 2016 - 04:33 PM

Though I use my ACL exclusively with 200ft. mags, traveling in Asia I carry my raw footage in 400ft. cans originally Kodak sealed. Never had any problems having them manually checked, NO X-RAY (except once in Cambodia).

Never had a darkroom, so I spooled down in the Arri mag.

Cheers,

Volker


  • 0

#30 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 04:42 PM

Though I use my ACL exclusively with 200ft. mags, traveling in Asia I carry my raw footage in 400ft. cans originally Kodak sealed. Never had any problems having them manually checked, NO X-RAY (except once in Cambodia).

Never had a darkroom, so I spooled down in the Arri mag.

Cheers,

Volker

 

So of the two ACLs you offer, is anyone of the m S16?

And would you consider shipping to the US?

C


  • 0

#31 Volker Bendt

Volker Bendt
  • Basic Members
  • PipPip
  • 90 posts
  • Other
  • Germany

Posted 21 March 2016 - 04:49 PM

Hi Carl,

look up your emails, it's all there.

Volker


  • 1

#32 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 04:59 PM

Hi Carl,

look up your emails, it's all there.

Volker

 

Would you mind sending it again?

I looked through both my emails (including spam folder), can't find anything :(

C


  • 0

#33 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 05:45 PM

Hi Carl,

look up your emails, it's all there.

Volker

 

I know what happened.

Autocorrect removed the L from my name.

correct email is carl.loven@gmail.com

C


  • 0

#34 Volker Bendt

Volker Bendt
  • Basic Members
  • PipPip
  • 90 posts
  • Other
  • Germany

Posted 21 March 2016 - 06:05 PM

Hi Carl,
 
The ACL1,5 is Super16
It comes with small motor and standard finder,
but I have all parts for an upgrade with multiduty motor and fully orientable finder, same as ACL2.
 
The ACL2 is regular16.
 
Today I've run a test roll of Kodak 7285 reversal through both cameras to make shure that everything works well.
The S16 ACL1,5 was kind of noisy, uncommon, it used to be very quiet before.
The R16 ACL2 was running very quiet and smooth as it should.
I'm waiting for the film to be processed, but there is no doubt the ACL2 is ready to shoot.
The ACL1,5 S16 has to be checked before, I will have it done soon.
 
So right now I can offer the following set:

1.)  ACL 2,  R16, latest model, heavy duty motor 8-75 f/s  and fully orientable Angenieux finder.

      1 Cameflex and 1 Arri  bayonet mount,  2 batteries, cable, twin charger, release handle,                                                                  3  mags.,  200ft. or 400ft. by choice.                                                 

      Everything you need, ready to shoot.      Asked price 700 Euro.

      I would add some 100 and 200ft. daylight spools and a changing bag as well.

2.)  Angenieux  Zoom 1,6-2,2 /  9,5-57mm, Arri B mount, very clean, with sun shade.

      Asked price for the whole set ACL 2 with Ang. lens 1200 Euro.

Shipping to the US by DHL would be 48 Euro, Premium service 64 Euro.

The ACL1,5 S16 set with Ang. lens should go for 1400 Euro,                                                                                              upgraded with multiduty motor and fully orientable finder (same as ACL2) 1600 Euro,                                                                    but it has to be checked before. If I'm not absolutely shure that everything is OK,  I would not give it away.

 

Volker


  • 0

#35 Volker Bendt

Volker Bendt
  • Basic Members
  • PipPip
  • 90 posts
  • Other
  • Germany

Posted 21 March 2016 - 06:14 PM

Got it now?

Volker


  • 0

#36 Carl Nenzen Loven

Carl Nenzen Loven
  • Basic Members
  • PipPipPip
  • 172 posts
  • Student
  • San Francisco

Posted 21 March 2016 - 06:24 PM

Got it now?

Volker

 

Yes, thank you.


  • 0


CineTape

Gamma Ray Digital Inc

Media Blackout - Custom Cables and AKS

Paralinx LLC

Technodolly

Abel Cine

rebotnix Technologies

Tai Audio

The Slider

Rig Wheels Passport

Aerial Filmworks

Opal

Ritter Battery

Broadcast Solutions Inc

Wooden Camera

Glidecam

Willys Widgets

Metropolis Post

FJS International, LLC

Visual Products

CineLab

Rig Wheels Passport

Wooden Camera

Willys Widgets

FJS International, LLC

Paralinx LLC

Opal

The Slider

Technodolly

Gamma Ray Digital Inc

Tai Audio

CineTape

Metropolis Post

rebotnix Technologies

Ritter Battery

Glidecam

Media Blackout - Custom Cables and AKS

Abel Cine

Aerial Filmworks

CineLab

Broadcast Solutions Inc

Visual Products