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Eclair ACL V. Arri SR [german]


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#1 Mark Smith

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Posted 26 January 2006 - 12:36 PM

I currently have an Eclair ACL 1.5 which I am thinking I will sell. I think I will pick up an Arri SR I [german electronics]. My question is what will I be gaining? Or rather, why is the price tag for the Arri [10,000ish] so much higher than the ACL [4,000ish]? I know that a lot more accessories etc. are available for the Arri, and they are easier to maintain, but I.m talking about the finished quality of the product. My main concern is to have a quiet sync-sound camera. Any comments?

Mark.
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#2 daniel mahlknecht

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Posted 26 January 2006 - 01:06 PM

the ARRI should be a bit quieter than the eclair.
I personaly don't like it so much, because it is really awfull to shoulder camerawork with the arri, for this kind of use i think the eclair is better.
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#3 Tim Carroll

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Posted 26 January 2006 - 03:47 PM

I currently have an Eclair ACL 1.5 which I am thinking I will sell. I think I will pick up an Arri SR I [german electronics]. My question is what will I be gaining? Or rather, why is the price tag for the Arri [10,000ish] so much higher than the ACL [4,000ish]? I know that a lot more accessories etc. are available for the Arri, and they are easier to maintain, but I.m talking about the finished quality of the product. My main concern is to have a quiet sync-sound camera. Any comments?

Mark.


If you get an Arriflex 16SR with German motor and electronics, and have SR3 gears put on the mags, you should have a very quiet camera. The advantages over the Eclair would be many, some important to you and some maybe not so important. A much larger selection of lenses and camera accessories. A larger base of repair facilities. A robust camera that is one of the industry standards. Higher resale value. Probably greater reliability, although I do not know much about the ACL.

If you convert it to Super 16, you have almost a current production Super 16mm camera, something the ACL will never be. It is an investment that will grow in value as you add to it (lenses, video tap, matte box, lightweight rods, follow focus, etc.) something the ACL will probably not do.

But hey, if the ACL is doing everything you are asking of it, why upgrade?

-Tim
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#4 Mark Smith

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Posted 26 January 2006 - 09:29 PM

Out of curriosity, what makes the SR able to be a current S16 production camer, and not the Arri? That is the difference I am insterested in knwoing about.

Thanks,
Mark.
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#5 Boris Belay

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Posted 26 January 2006 - 09:48 PM

Out of curriosity, what makes the SR able to be a current S16 production camer, and not the Arri? That is the difference I am insterested in knwoing about.

Thanks,
Mark.

I think you mean "and not the ACL" , no?
I'm interested in the answer too... anything besides being profesionally recognized as such ?
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#6 Mark Smith

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Posted 26 January 2006 - 10:56 PM

Yeah, sorry...I was watching TV when I typed that...I meant the ACL...but beyond recognition/parts/ease of repair...I.m in NYC so repair for the ACL is easy and not that expensive...what is the issue? It.s a little loud..but I can.t imagine the SR is THAT much quieter...

Mark.
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#7 Tim Carroll

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Posted 26 January 2006 - 11:32 PM

Yeah, sorry...I was watching TV when I typed that...I meant the ACL...but beyond recognition/parts/ease of repair...I.m in NYC so repair for the ACL is easy and not that expensive...what is the issue? It.s a little loud..but I can.t imagine the SR is THAT much quieter...

Mark.


The Arriflex 16SR, when converted to Super 16 and with an added video tap, is probably 90-95% of a current production Super 16 camera, i.e. the Arriflex 16SR3. The ACL, even when converted to Super 16 is still a decades old camera with a Super 16 conversion. And you mention "recognition/parts/ease of repair" as if those are not major things, I would say those are major things.

And if you are a DP and are selling yourself with your camera package, having a Super 16 Arriflex 16SR is going to put you in a different league than if you are selling yourself with your camera package and you have a Super 16 ACL. That could be just my opinion, but I think others would agree.

Again, this is not even taking into account the PL mount lenses available for the Arriflex 16SR with Super 16 conversion (which usually includes the conversion to PL mount). All the top motion picture lenses made today and over the last thirty years are available in PL mount.

I think it is the combination of all those things that makes the SR more of a production camera than the ACL. With the one added ingredient that the SR is built like a tank and can probably take much more abuse than the ACL and still crank out beautiful images.

Again, just my opinion,
-Tim
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#8 Stephen Williams

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Posted 27 January 2006 - 03:27 AM

Out of curriosity, what makes the SR able to be a current S16 production camer, and not the Arri? That is the difference I am insterested in knwoing about.

Thanks,
Mark.


Hi,

The SR is an Arri!
The Arri SR range evolved into the SR3 over 25 years. Rental companies have 100's of upgraded SR1/2's in use every day. If you have the money P+S Technic can upgrade an SR2 to virtually a SR3. I've heard them called 2.9's! Thats why the SR is considered a current camera.

Stephen
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#9 Mitch Gross

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Posted 27 January 2006 - 10:43 AM

The Arri SR can take a modern, flickerfree color videotap.
The Arri SR can use an extension eyepiece.
The Arri SR has a fully orientable viewfinder that keeps the image upright automatically at all times.
The Arri SR viewfinder is very bright and sharp.
The Arri SR viewfinder does not yellow with age.
The Arri SR can accept electronic speed controls, power accessories such as zoom motors, LCD displays, film/video synchronizers, etc.
The Arri SR can be modernized with glow in the viewfinder, electronic footage counter, built-in speed control, much more.
The Arri SR uses a direct drive gearing system with NO BELTS so that the shutter and film advance systems can never get out of synchronization.


The same cannot be said for the Eclair ACL. There are many more as well. This is why the Arri SRs as well as the Aatons are still modern production cameras and the Eclair ACLs are not.
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