Alain LeTourneau

Many people have sited the Couzin article, but how many have tested it for themselves? I've heard from a few folks who stated they shot wider than f4 on B and PL mt lenses without any distortion. -Alain

The Jury is still out on the supposed prism aberrations. As I understand it "RX" was mean to distinguish between standard C mount and Bolex C mount, that is with a prism, or without. RX - FFD 20.76 C - FFD 17.526 Many folks use Arri B and PL primes (with adapters) on the Bolex EBM, SBM, EL cameras. -Alain

Hello. In your description above, are you referring to the new Canon 10.6-180/T2.7-3.3, or did Canon make a 10.8-180 at one time? Just curious? -Alain

SHURE FP-31 mixer - SOLD !!! -Alain

Thanks for your interest Scott, but the spare Alcan motor stays with the package. I'm not breaking this one up just yet. I'd prefer it all stay together. It's a very reasonable price for all the items included, many of these items (as you likely know) are hard to come by. And the s16 conversion price is pretty low, especially when compared to the price of converting an SRI or II. Remeber, the first s16 camera Rune Ericson used was a converted NPR. ; ) -Alain

Still open to offers. -Alain

Still open to offers. -Alain

Still open to offers. -Alain

Unfortunately no, the T2.1 is deceptive.... this is why I did not label it as "HEC". It's mag flourite glass. I was surprised by its performance with B/W stocks, very sharp. I have not used it with color. -Alain

Open to offers. -Alain

Open to offers. -Alain 503-231-6548, or letourneau(dot)alain(at)gmail(dot)com.

Tony, Just wanted to say I really enjoyed your film/video of the Pdx Pop Fest. Very nicely shot and cut! -Alain

FOR SALE SHURE FP-33 three channel mixer, like new with Porta Brace bag. $750 + shipping SHURE FP-31 three channel mixer, good condition for its age, one previous owner. $165 + shipping Questions email letourneau(dot)alain(at)gmail(dot)com. -Alain

FOR SALE ANGENIEUX 12-120/T2.1 B mount, front and rear caps. Excellent condition both optically and mechanically. I've seen this lens projected and it looks sharp. Tracks better than any standard 16mm zoom. One of the most robust 16mm zooms ever made, and this particular lens had one owner before me. I've only shot black and white footage with the lens, but was very pleased with the results. Selling because I have two of these. $450 + shipping email letourneau(dot)alain(at)gmail(dot)com with questions or to request pics. -Alain

Super 16 coverage is 25/30-100, so it covers s16 in the long end of its range. Mk1 has 80mm front, mk2 has 87mm front. -Alain

Does anyone have experience (positive or negative) with the following tripods... Cartoni F100 head with Al or CF sticks? Libec LS-55 system? Older Sachtler 4x4 with Al or CF sticks? Miller 30 Series I or II head with wooden or Al sticks? The Cartoni and Libec heads are rated at 22lbs (the Sachtler and Miller slightly more). I'm searching for something lightweight, as I carry my camera and tripod a great deal, but not so flimsy as to be useless. I use an Aaton XTR and shoot with Zeiss primes and lightweight zooms (Angenieux 12-120; Cooke 9-50). I am open to other suggestion, but obviously money is an issue or I would not be asking about the above tripods. I'm very curious about the Cartoni F100 head. I've heard people complain that these heads need service after a year of light duty. This surprises me, esp since Cartoni offers a five-year warranty on the head. Thanks in advance for any assistance. -Alain

Jon, Look into an O'Connor 50 set-up. -Alain

Sam Wells, who is occasionally on this list, made a film with DTS track, however this is something he had to travel will as no venue has their DTS system hooked up to a 16mm projector. There are a few ways you could set-up 16mm to playback from digital (as in HDD), but none are too easy. If the projector has a shaft encoder attached to it you can generate bi-phase which you could slave a computer to with the proper intermediary device. More folks should do this... as plenty of the filmmakers we host travel with their films and often with projectors. If one modified their projector with shaft encoder and intermediary box to convert bi-phase to TC, then one could (conceivably) playback from an HDD off a lap top. A nice little JBL active speaker and the filmmaker can create a wonderful (though small scale) cinematic experience. -Alain

Kodak made a horrible decision when they decided to discontinue 7399 and 7361, permanently ending the option of shooting on reversal, cutting the original (not impossible given the harder than neg emulsions of B/W and color reversal camera stocks), and making direct (wet gate) prints. I did this on a number of films... and never had scratches. This was also common practice for many, many independent and experimental filmmakers. So.... one of the cheapest ways to enter into filmmaking is now gone. However, I have a project that I've been working on which follows the same workflow, but will (obviously) go to IN before printing. I'll let y'all know the results...contrast is a big concern, so we'll see what happens. -Alain

Steve, David and Rob do a fine job pointing out the advantages and limitations of the format. If you have questions about exhbiting prints please feel free to contact me. BTW, David's comment about release prints is an important one. If small scale distribution is your approach, then you'd likely be ok striking prints off the original A/B rolls. The number of prints you will need is minimal. You'd probably find that two to three are enough, or you might even be happy with the first print to come off the printer, and use that until you needed another one. -Alain P.S. Three cheers for Cinelab, Rob, and old Steenbeck editing. I've owned and refurbished 3 Steenbecks, and currently work on an mid-1980s KEM RS with spring-loaded sound heads. And I would concur with Rob, flatbed editing is the way to go, however if you want fancy titles and lots of composite work, then stick to the NLE environment. The recent film Mutual Appreciation was shot in standard 16mm (SRII), edited on a Steenbeck, and blow-up at Metropolis. I caught the film at my local multiplex, Regal Fox Tower. If only there were DTS boxes around the country hooked up to 16mm projectors, and if only projectors were std16 and super 16 switchable. I think then we'd see a revival of the use of 16 prints on a wider scale. 16mm potential in exhibition is rarely exploited.

By "S 16" do you mean the camera has been converted to Super 16? -Alain

Fair enough. -Alain

Take a look at the Cine For Sale forum as I just posted my NPR package. Lots of extras, very nice package, selling because I have upgraded. -Alain aka "Cinema Equipment Classifieds". -Alain

FOR SALE - Eclair NPR package NPR #1154 CA-1 and C mount turret Angenieux finder #170 Aaton Alcan 24/25fps crystal motor #1051 Overhauled in August 2004 by Optical-Electro House (will provide copy of invoice). Comes with hard to find Angenieux viewfinder, much brighter than the original Kinoptik. NPR #1555 Arri B and C mount turret Kinoptik finder #55144 Aaton Alcan 24/25fps crystal motor #C5J11 Needs service, price quote from Optical-Electro House was around $900 for a complete strip-down, clean, lube, and align to factory spec. Comes with hard Arri B mount (not adapter) for use with Zeiss mkI super speed primes, or Optar Illuminas, or any B mount zooms (Zeiss, Cooke, Angenieux). Additional items- 3x magazines - #BA52, #BA44, #ED254 Aaton Alcan 24/25 crystal and variable speed 5-32fps motor Angenieux 12-120/T2.5 B mount Angenieux 12-120/T2.5 CA-1 mount 2x lightweight 12V on-board NiCD batteries and charger (new) 12V 4Ah battery pack (needs recell) NP-1 battery adapter 2x battery cables Spare claw movement Owmer's manual Service manual (en francais) $3450 + shipping For inquires contact Alain LeTourneau 503-231-6548.

Thanks Tim! -Alain