what camera could I choose?

[Ray Friera]

First, I would like a camera where I could make very long shots (2 minutes or more) and not only 25 or 30 seconds shots like in the mechanical bolex or K3.

Is there only electric cameras to do that?

 

Also, I would like to use new and sharper lenses, different than the one in the bolex H16 for example.

 

The other important point is a clear viewfinder because i tried to shoot in dark conditions with a bolex but it's almost impossible to make the focus at f1.4 or even f2.

 

And finally, it would be great to find a camera with an external magazine or a camera were i could put more than 100 feet cause it could really be a lost of time to use the change bag so often...

 

 

Have you consider a CP GSMO? just as quiet as ACL, 400 loadcoaxial mag, reflex viewfinder and with crystal-control motor. Sweet little camera.

[anthony le grand]

Have you consider a CP GSMO? just as quiet as ACL, 400 loadcoaxial mag, reflex viewfinder and with crystal-control motor. Sweet little camera.

 

No, i didn't think of it. It's a good camera but for this range of price, I think I would buy an Arri or Eclair.

But for the moment, the price of the Kinor cx-2m is a strong argument. Do you people think that the Kinor can be as good as the Arri 16s or ACL, with an adapted lense (and perhaps S16) ?

 

Thanks for all your help,

Anthony

[Martin Yernazian]

WOW WOW! Hold your horses about teh NPR, I have one, and is solid and sturdy, and it's pretty quiet to, the ACL is good, the Aaton's are great, but the NPR has its great things to, ( Variable shutter, lens turret, etc)

I have mine with a PL mount converted to S16, and it's like grabbing a Datsun 280sx and putting super charger to it, trust me it will put up some steam!

 

Best

[Saul Rodgar]

WOW WOW! Hold your horses about teh NPR, I have one, and is solid and sturdy, and it's pretty quiet to, the ACL is good, the Aaton's are great, but the NPR has its great things to, ( Variable shutter, lens turret, etc)

I have mine with a PL mount converted to S16, and it's like grabbing a Datsun 280sx and putting super charger to it, trust me it will put up some steam!

 

Best

 

 

I personally strongly dislike NPR's. Heavy cameras, with the motor sticking out in the bottom making it really hard (impossible almost) to hand hold, inadequate handle (a mere hook) and a PAIN to load. Sturdy and solid yes -but not enough to offset its disadvantages, quiet not so much. Variable shutter is what I wish ACL's had. The lens turret makes for a bigger, heavier camera. Just not a fan of the darn thing.

Sorry.

[Martin Yernazian]

The NPR is not hard hold, ( it takes a little more, but I like that It, takes something extra out of me, and doesn't let me get comfortable and lazy)

Also the NPR is not hard to load, is probably one of the easiest cameras to do that.

 

I guess is all about tastes.

[Guest Ole Dost]

No, i didn't think of it. It's a good camera but for this range of price, I think I would buy an Arri or Eclair.

But for the moment, the price of the Kinor cx-2m is a strong argument. Do you people think that the Kinor can be as good as the Arri 16s or ACL, with an adapted lense (and perhaps S16) ?

 

Thanks for all your help,

Anthony

 

Hi Anthony,

Anthony, If you like some more Infos concerning the KInor, please send me your E-Mail-Adress and I will give you some more then poossible on a forum. THis is my E-Mail-Adress: Ole.Dost@t-online.de

I am the proud owner of three Kinor 16s.... (two Kinor 16 sx-2m and one Kinor 16P) The Kinor 16 is pin registered, like the Arri 16S and even an advantage over the ACL! This means that the pictures are as steady and sharp as possible with 16mm film. You certainly won´t see any difference to any other professional 16mm Cameras result. There´s even one advantage over the Arri 16s and even the Arri 16BL -the viewfinder offers is better as the picture you see there is more brillant. One big advantage: If you manage to get a 120m Mag, it will stay rocksteady on your shoulder when handheld-shooting.

I did use ´my two KInor 16 SX 2m for a documentary film some weeks ago and they performed very well. I had to record some interviews. On the sound files, I hear nothing from the camera motor. I have been using a shotgun MIc and the Camera was 2 Meters away from the speaking person.

You won´t see a difference from other 16mm Cams that are pin registered concerning the picture. There is one big disadvantage though: When you are amongst other cinematographers, perhapes nobody knows the KInor 16. That is different with the Arri, Eclair and Aaton Cams. And the Kinor 16 was never designed to win a design/beauty competition. But it is the picture that counts, isn´t it?

[James Baker]

Hi.

Sounds like you could use an Eclair ACL. You can read about them here:

 

http://members.aol.com/Super16ACL/menu.htm

 

I agree with Tim that Arri 16 s cameras are cool, and tough as nails. But bang for the buck, the ACL's got it beat. The ACL is sync sound ready, not the quietest, but certainly a LOT quieter than the Arri 16 s. And if you get the right motor you can run 400' from 8fps up to 75 fps, sync only at 24/25 fps though. ACL's only run sync at 24/ 25 fps without a lot of modification, but possible with a miliframe motor. Not to mention that ACL's are easy to convert to S-16. However, you will need to send it to a pro shop. Also, Les Bosher makes and carries all kinds of adaptors for different lenses, in addition to the A and the C- mounts that come stock on it. Hell, you could get a Cooke S 4 lens on it with the PL mount adaptor! Try doing that with an Arri S. Literally you have thousands of lenses to choose from. Even M42 lenses can be adapted to go on the thing. You can choose between 200' and 400' mags on ACL's. There are video taps made for ACL's as well. And on and on . . .

 

ACL's are cameras you can grow with as a cameraman! How much better can it possibly get?

 

All in all, ACL's are just beautiful cameras, but you have to be careful with the one you get. The english style mags are no good and the original motor is not very strong. But, again, if you get a good ACL, with the right motor, it can last you forever. AND when you are ready to do sync sound, the ACL is ready to go, whereas an Arri 16 s would have to be blimped and so on. The ACL is a lot better investment. I would rather buy one camera than two down the line, one to replace the other . . . Which is what I did. I own two ACL's and one Aaton LTR, it's bigger, badder, super quiet brother. AND I LOVE THEM! You will have to pay a little more for the ACL than the Arri S, though. In its right configuration you can find one already converted to super 16, with the heavy duty motor for about 3 grand on ebay. But, that camera will last you for a lifetime, if properly kept.

 

Man, even the new Arri 416 is at least partially based on the Aaton paradigm, which is based on the ACL camera. Imitation being the biggest form of flattery, to coin a frase.

 

Don't get the NPR, though. Not the same camera. Not at all . . .

 

'Nuff said!

 

My sentiments, too. An ACL with French mags and motor change out (and overhaul with the S16 conversion) is a really smart way to go. And there are three Eclair expert repairpersons (that I know of, maybe there's more?) who will keep it running: one in the UK, one in upstate New York, and one in Southern California.