Alain LeTourneau

I've used Forde (Seattle) with good results. Alain

Andrew, The dark finder has always been my gripe as well. What do you mean by "good mirror"? Are you referring to a replacement mirror (made by TCS, AZ, ir Cirpi), or are you talking lasering the ground glass similar to the process done by Bernie O'Doherty? Alain LeTourneau

Why not. Good enough for Jean Rouch, good enough for the rest of us. Solid camera, mags are easy to load (easier than ACL), and CA-1 to Arri-B mount adapter for about $90 will allow you to mount B mt HS lenses. Shooting B/W or color? Your questions are vague and you should look in the archive as this has been discussed many times. --Alain

Went to see 2046 the other night at the independently run Cinema 21 here in Portland, Oregon. Projectionist did a wonderful job. Nice scope print, hardly any noticable wear. A real treat to look at. Shot on Fuji stocks (I don't know which numbers) and I believe printed on Fuji at Eclair. Highly recommend catching it if you can. New issue of Cineaste covers Wong-Kar Wai's career. --Alain

Your comment "Hollywood look" is sufficiently vague. I don't know what that means. Sharp images (as opposed to shooting with a pro mist, diffusion, or nets) is not simply the pervue of Hollywood movies. But of course it all comes down to taste, and I don't particularly care for shooting with diffusion, unless is really slight. The great thing about 35mm is its resolving power, and I like to see that used to the fullest. Doing something else is fine too...I often just don't care for it. Alain

Actual gauze, or a pro mist or what? Didn't much care for the look, I like detail. I don't recall Elmes doing this on Night on Earth, during the static night shots of exterior environments (in each location, separating each sequence). Is this a new things for Elmes? Alain

Anyone know if Jarmusch's Broken Flowers was shot super 16? How about what stocks? Alain

Went to a afternoon screening of Jarmusch's latest, Broken Flowers. Shot by vetran Fred Elmes. First thing I noticed was how dark the images were. I mean dark in terms of the shadows were really falling off. I haven't read any tech articles on this film so I don't know if it was shot in super 16 or 35? Maybe someone out there can answer this question pour moi? At on point I though maybe the xenon lamp in the projector was going bad. It was a multiplex after all and I wouldn't put it past the theater to make such a mistake. It also seemed a little soft, the images that is, as the title sequence was sharply in focus. So I wondered again if this is super 16 since s16 has looked soft to me in wide shots I've seen in other 35 blow-ups. An interesting film for Jarmusch. A cast of celebrities that would make most producers drool, but despite that an interesting film. Somewhat out of character for Jarmusch as well as the celebrities in the film (although Murry was his typical late-career laconic self). I think I enjoyed the music most, something I usually find annoying in most films, but also something very characteristic of Jarmusch's other films (John Lurie scores, etc). I'll probably go see it again before it leaves the theater. Surprisingly, the film is simultaneously booked into two theaters at this multiplex I went to. Something which will probably change after opening week (just opened last Friday). I guess the theater was pulling for Murry's star power. Anyway, please let me know stocks and super 16 or no...if you know. Alain

In my experience, the word "rugedness" in regards to cameras is often used to describe cameras frequently in use at rental houses and schools. Two places were "ruggedness" is often equated with abuse. I think in terms of individual ownership, having an Arri SR is not entirely necessary and certainly cost prohibitive, even at this late stage in the cinema (future of 16mm?). I bought an SR1 for a school I used to work for. I also worked at an Arriflex rental house, and most of the AC work I've done has been with SR cameras. They are certainly nice cameras, and absolutely the SR3 is a work of art. But practically speaking (read: economically speaking) its gonna break the bank. A while back when I was looking at cameras I found a few SR1s in decent shape for $5000 and under. Super 16 conversion would have been another $6000 at the very least. And this was without a lens (or with a Angenieux that is not suited for super 16). Now if you're making money off the camera that's something else altogether and calls for consideration of a heafty investment in gear. Again...the questions goes back to...It depends on what the buyer is looking for. Alain

I should add.... Bolex is the best entry level camera IMO. A RX5 can be had for less than $1000, and an SBM you can get direct from a dealer for around $2000. Tobin makes a great sync motor for both these cameras for around $500. Switar lenses are good glass too! Parts availability is good, Bolex is still in business and plenty of techs around (Dieter, SMS, TCS Inc, and of course Bolex). Oh, and Bolex cameras are the cheapest to convert to super 16, usually $1000-2500. Arri S is a fine camera, haven't shot with one in years though. Parts may be tricky. Use of Arri std mount Schneider and Cooke and Zeiss lenses with interesting results. Arri BL I'd avoid. Cannon Scoopic I'd avoid. Bell & Howell filmo cameras can be had for cheap, but I'd avoid them unless you're on a real tight budget. Eclair NPR, ACL and CP-16 if you want to shoot sync. Parts are available, plenty of techs. You can get a nice package for $2500-5000. For Eclair there's Optical Electro, Bernie O'Dogherty and for CP there's Ken Hale at Whitehouse AV. You can super 16 all these cameras ffrom $2000 and up (although I think Bernie can beat this price.) Alain

Nathan is being modest, of course the Aaton XTR prod is the best camera! ; ) Eric, "best" is a loaded phrase but I think I understand where you're coming from. My criteria (in order): -steady images -bright viewfinder -lightweight, portablility Other features are bonus items IMO. But as Nathan stated, it all depends on what you're doing. I shoot only off sticks, rarely move the camera during shots, mostly shoot std 16 B/W, shoot sync and non-sync, and never pull focus. I also rarely shoot people and interiors. I'd consider myself a specialist in this regard, as movies are usually about people (or wildlife). I've owned the following cameras: Bell & Howell 70DR, CP-16A, Bolex RX-5, and Eclair NPR. I currently own the following cameras: Bolex SBM and Eclair ACLII What I currenly own I am very happy with. If I had a little more money I'd by an Aaton 54LTR or Bi-phase XTR. If I had a little more than that, a newer model XTR, and if someone threw a whole lotta money at me I'd buy a brand new Aaton XTR prod direct from the factory. But for now, I'll take what I can afford in a camera, and spend more money on glass. Alain

You can mount the Rex-o-fader on its own, but it simply allows the use of smooth fades. By in-camera effects I ment - single frame, backwinding for double exp, fades. Alain

Are you referring to the rex-o-fader? The auto fader that mounts on the side? Alain

The 13x finder is slightly better (maybe brighter), but I wouldn't advise an upgrade. Bolex VFs are what there are, and upgrades or aftermark conversions cannot do much to help that. Sometimes with the Bolex you need to rely more on measurement than your eye to focus as the groundglass can make it hard to determine critical focus. What Bolexs have over most cameras, as you know, is portability, as well as the ability to perform in-camera effects. They are not well known for the VFing system. Alain

SWITAR Lenses -RX 25mm f1.4 w/ both caps. Perfect mechanically and optically. Collimated by Dieter Shaefer at ProCam - $125 -RX 16mm f1.8 w/ both caps. Perfect mechanically and optically. Collimated by Dieter Shaefer at ProCam - $125 -non-RX 75mm f1.9 w/ leather case and both caps. Rear element is good, front element has a small pit. Lens will work fine shooting B/W stocks and in most situations with color stocks. This is a nice tele lens for Bolex, B&H DR70, Eclair NPR and ACL. $50 -Bolex bayonet > C mount lens adapter $35 Buyer pays shipping on all items. Alain LeTourneau 503-231-6548 or alainletourneau2002@yahoo.com

Pls excuse typos. Alain

Neutaper as nice splicers if you can find them used. The blades are cheaper to replace that CIRO and most other brands of splicers. I have a neft compact model for using on the flatbeds tight space. look for a 16-SS or 16-SD. SS = Straight cut, SD = Straight and diagonal cut. Alain

Steven, Steenbeck and KEM both made Super 16 models (which is really just a different pix head made to accomodate the wider edge of the film). Paul Tomasko sells a cheap kit to convert the pix head on a Std 16 Steenbeck (ST-900, ST-1200, etc). If you're interested I can give you contact info. Also consider the projector, which needs to be converted. Eiki SSL is not too difficult (so I've heard), but have never tried it myself. Alain

The process at ColorLab is expensive, as it involves making an IP and IN first before getting to any print (WP or RP). However, Metropolis will make one directly from original neg. This is more costly than work print though, better to spend a little time and money in order to modify a standard 16mm projector > s16. Alain

Thanks Jack for looking into this and provide the info. Alain

I'd agree with these comments. I think I went to the film as much for the fact that Kuras shot it and I knew it was shot in s16. But it had moments. Like Rosenbaum said, the film "doesn't succeed in everything it sets out to do. But as a statement about the death rattle of 60s counterculture it's thoughtful and affecting". And Daniel Day Lewis does a fine job. After seeing this film I'm less enamored by the potential of the DI process. Things seemed to look rather odd, colors, etc. I don't know. Alain

I was impressed with how well the s16 stocks hold up on medium shots and close-ups, but it seems to lose detail on really wide shots and landscapes. I know that Motorcycle Dairies shot s16 for scenes with actors, but 35mm for all landscapes and wide shots. The cut together well and the sharpness held throughout the entire film. Did anyone else notice the lack of image sharpness in some of the shots in Ballad? Alain

And then died with Eclair died in 1982. So, the production run of the camera was about 10 years? Alain

Actually, my understanding, after talking with Paul Duclos, is that the full 16-44 range of the Angenieux will NOT cover super 16. It's limited to something like 25-44mm. Alain

WANT TO BUY 25mm T1.3 Zeiss Super Speed MkI or MkII or Optar Illumina --Alain alainletourneau2002@yahoo.com