JimMcGee

John Sayles, he does it all.

Hi, I recently moved back to Japan and was wondering if there are any fellow cinematographers/filmmakers out there. There use to be an option on the personal info to search for members by area but I don't think that option is available anymore. However, I could be wrong. I'd love to here from you. Yoroshiku Onegaishimasu, Jim McGee

I use to own an ACL II and it was a great camera. I would probably call George or Bob at Optical Electro House and ask them about this specific camera. They're both nice guys and I've got service from them many times. Thier # can be found on their website at www.opticalelectrohouse.com. They also sell many upgrades for the ACL like better viewfinder etc. Better yet to even pay them a visit in Culver City if you can and bring a printed sheet of the camera ad for reference. Good luck. Jim

Hi, From what I've read, it was shot on reversal film and processed as negative. The result is the high contrast intense (somewhat unreal) color. It was also done in several other films for a stylized look "Summer of Sam" by Spike Lee is one. O was wondering if "Transporter 2" was shot that way because it had a similar but subtler look. Jim

Hi, The look of much of Transporter 2 appears to be shot on reversal film and processed as neg. Can anyone confirm this? Thanks, Jim

Hi, It goes between the lens and the camera and I assume the optics that are in this converter adjust for the image to bring it up to Super 16. The cable that comes with it allows you to use zoom and start/stop functions with your specific camera. The quality of the image is dependent on the lens you use. It really is a fantastic item. It mounts on the camera just like a lens so it can be removed in a second to use cine lenses if you have them. Jim

Hi, I am wondering if maybe this was misinterpreted. Perhaps the original conversation referred to the slight light loss when a ZOOM lens is changed from wide to telephoto therefore opening up the iris for the close-up. Perhaps not, just a thought. Jim

Hi, As for behind the lens, Neutral density filters and #85 for using tungsten balanced film outdoors are pretty basic filters that you should have. However, even though it may be minimal, gelatin filters are not going to be as good as a high quality glass filter in front of the lens. Dust or imperfections may be noticeable on gel filters behind the lens. I'm not a big fan of filtration but if I had a choice of only one filter, it would be a polarizer. I think you'll find a lot of people would agree. It's the one filter I use more than any other for both nicer color saturation and reduced glare. As for gel filters loosing their color or degrading over time, somebody more qualified than myself would be better to give you an answer for that. I hpe this helps. Aloha, Jim

Hi, It's the same size PL mount whether it's 35 or 16. However, the image size that a lens gives you on a 35 mm camera will be wider than the same lens on a 16 or Super 16. You can use non PL mount lenses on your camera as well with an adapter which will make available to you a whole arsenal of less expensive non PL mount lenses. It was a smart move converting your camera because you now can use so many different lenses whereas before you were a bit limited. Jim

Hi again, Century does still sell this item so here is some info on it. First is the link but I also copied & pasted the info. The photo on the page is not the item but I can take a photo if anyone is interested and email it to you. http://www.centuryoptics.com/products/film...transformer.htm 2/3" Video to Super 16 Transformer Use 2/3" video lenses on Super 16 cameras. Century's 2/3" Video to Super 16 Transformer allows filmmakers to use broadcast-quality 2/3" video zooms on Super 16 cameras including Arri SR, SR2, SR3 and Aaton. The compact and lightweight Transformer operates through optical compensation, eliminateing the need to modify the lens. A cable (included) allows servo zooming with the original zoom lens' rocker control. The Transformer is available in Arri PL, Arri Bayonet & Aaton mounts. Stock Numbers: Arri PL: XA-TV16-AL Arri B: XA-TV16-AB Aaton: XA-TV16- AA List Price: Arri PL: $2,500 Arri B: $2,500 Aaton: $2,500 Aloha, Jim

Hi, I live in the US but a few years back, I remember prices for 16mm cmeras in Australia being very very reasonable. The prices were much lower there than for something equivalent in the US. I bought an Eclair ACL II package in beautiful condition for about half the price I could have gotten it in the US. I don't know how things are now but you may want to look into it. Jim

Hi Michael, It sounds like your camera has a few issues that need attention before shooting some film through it. It may be easier to sell it on ebay and buy one that is in good useable condition. A lot will depend on the amount of money you are willing to spend. The rust you mention is certainly something you should be concerned about because it could damage or scratch your film. The fungus in the lens is not a good thing but may not be that noticeable. It depends how much fungus you are talking about. It may cost more to get it serviced than it is worth. However, only you can decide that. I would probably sell it and buy something that you know will serve you better. This is not a suggestion, it is only my opinion. I hope this helps. Jim

Hi, I bought a 2/3 to super 16 conversion mount with cable from Century Optics that enables me to use any 2/3 lens with my Aaton XTR and utilize the zoom function and the lens start/stop button as well. It's really incredible because a whole world of plentiful lenses are now available to use. It's a well built beautiful converter that mounts between the camera and lens. They sold converters for Arri, Aaton one or two others for $2500.00. I'm not sure they still have them but it's a great item. I believe NFL Films purchased a bunch of them as well. Jim

Hi, I know this is not the area you were looking but George & Bob at Optical Electro House, www.opticalelectrohouse.com are the best!! They specialize in Eclair NPRs & ACLs. I no longer live in LA but when I did, I frequently visited their shop. I hope this helps. Peace, Jim Optical-Electro House 10608 Culver Blvd. Culver City, California 90232 - U.S.A. Phone: (310) 204-6577 Fax: (310) 836-3194 www.opticalelectrohouse.com

Hi Mitch, Thanks. I'll check it out. Aloha, Jim