eclair cameflex

[hugovillasmythe]

There's a very cheap eclair cameflex for sale in Mexico. Packaged with a set of legs (normal, baby, hi hat), an o'connor 50 head, 25mm, 40mm, 50mm and 100mm. It belonged to a news cameraman in the 60's but it's very well cared for. All gear is in original cases. I still have to roll a test to see if reg si good and lenses still hold focus. What is it good for? I'd buy it if I knew I could make small features with it... Let's say ti would be my ultra low budget package. Any help?

[James Steven Beverly]

How cheap is Cheap? I did some research a little while back because I was thinking of getting one and I discovered they're very similar to the Konvas which are very inexpensive russian made cameras ( if I'm not mistaken the commies ripped Eclair's design off) so you may get more fore the money with a Konvas, but the russian camera has it's own set of problems, so maybe not. Both cameras are loud and not the best suited as a sound camera but good for MOS although some do come with crytal sync motors. The turret can be modified to accept PL lenses but that's about 3 to 4 hundred dollars to do. It's small and light weight but I believe it can't take over a 400 ft mag which may not be a major problem but it is a consideration. Basically it's a low end camera with some limitations but if that's what you can afford, go for it.

[Stephen Williams]

Basically it's a low end camera with some limitations but if that's what you can afford, go for it.

 

 

Hi,

 

I would never describe a film camera as low end. The lens and the film are responsible for the quality of image.

 

The Camflex is a 16/35mm switchable camera! Ideal for hand holding and time lapse!

 

Stephen

[James Steven Beverly]

I simply meant that the camera generally costs less than say a Moviecam. Of course your right about film and lenses having an absolute effect on the final image but the Eclair is going to cost less than several other camera packages and therefore is "low end" in the context of 35mm motion picture cameras. Also if my research if I remember correctly, not all Camflex cameras are switchable, so that's also something that shpuld be check on because a switchable one would be worth more.

[Stephen Williams]

Also if my research if I remember correctly, not all Camflex cameras are switchable, so that's also something that shpuld be check on because a switchable one would be worth more.

 

Hi,

 

As the 16/35mm mags and gates were options, some kits are more complete than others.

 

Stephen

[Jon-Hebert Barto]

If the price is right and the gear is good then by all means purchase this bad-boy!! I would not say the

 

Cameflex is anywhere near the Konvas! Much better !!! Better electrics, VS, you don't have to worry about it

 

taking kodak perf film or not, no special cores needed for certain mags, etc,etc,etc. Konvas' are great cams

 

but for a limited uses. Like B-cam MOS. I helped on a film that used a CM3 for the entire short ! We

 

barneyed the cam and recorded ambient room specific noise with the camera running then shot the scenes

 

with all the dialogue. In post we used noise filtration for the camera specific sound to come up with a "noise

 

profile". That with the barney and directional mics reduced the camera noise on the final version to almost

 

nil ! We could make it out if we REALLY tried to on certain speakers in certain scenes but no one else

 

noticed. Not even other filmmakers or sound men....So in this sense you could even use the CM3 as an A-

 

cam. Of course nothing beats true blimped sound cameras.... :D

[Adam Frisch FSF]

Cameflexes have their unique ratchet-type movement which makes them incredibly noisy. Much noisier than a Konvas - they sound like wood chippers when you run them. But it is also a marvel of simplicity and will probably never fail.

[Jon-Hebert Barto]

Konvas are about 60 decibles. 15 or so less then a CM3. The sound recording process I mentioned above would actually work better with a Konvas......They have that "friendly noise" which is easier to cover. Less action against the human vocal dimension.

 

Hugo, go to commiecams.com to read up on the Konvas if you want. Great site, great cameras. I'm just saying, all things being equal, that I'd probably get the CM3 if the price is right. You didn't even mention using the camera for sound so I don't know why I volunteered that info ...? I get off track sometimes...

 

As the MOS it is I just feel less sketchy with a CM3 over a Konvas. But then again there are tons of people who kill in the name of those cameras! It just seems that every one I've conversed with who purchases those things always pay through the nose getting it where they want to film with. Cleaning, refurb, ect.

[hugovillasmythe]

Thanks for the input. I have decided against purchasing the cameflex. My decision is based mostly on what I've shot for the last 2 years which is super16mm for either direct to video applications or for digital intermediate for blow up to 35mm prints and HDTV or DVcam or other "high-end" video.

Actually, the last time I shot 35mm neg for 35mm print was 3 and a half years ago and I can't think of a good enough reason I would have told that director that it was better to shoot with older lenses, a noisy camera, no video assist, 100ft loads, etc. No, not even price.

Instead of spending 2,400 dollars on the cameflex package that I saw, which I'd never be able to use simply because I haven't been in a situation to do it, therfore I don't believe I will, I think I'd rather save up some more (a lot more) and go for a competent Arri SRII super 16 package or even an Aaton S16mm.

I already own a set of legs and a satchler studio 7+7 head, a bunch of filters on 5X4 ans 6X6 so I think this is a smarter choice.

I'm thinking I'll end up needing to invest about 10 to 12 thousand US on the whole lot but last year alone I rented similar packages 25 days so, I think I'll be able to make it back soon enoug.

The video realm is also a possibility but I haven't jumped in because I hate the fact that camera manufacturers seem to come up with "the cat's meow" camera every 3 months.

[hugovillasmythe]

By the way.

If anyone is interested on this camera, the seller´s contact info is:

 

Monica Uribe

 

(+5255)55 43 32 86

 

She lives in Mexico City.

[uva_canibal]

Hugo Villa:

Esta es la cámara con la que se filmaron las grandes obras de la "nueva ola francesa". Trátala con respeto. Raoul Cotard filmó con ella, "Sin Aliento" y Henri Decae "Los 400 golpes". Antes de comprar cámaras encuentra buenos directores con ideas que filmar. Si tienes eso, hasta una beaulie de super 8 hará bién su trabajo.

Un abrazo