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Pavan Deep

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  • My Gear
    A-Cam Reflex & Eclair ACL II Super 16
  • Specialties
    lecturing, writing, script editing, cinematography

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  1. I know this camera is popular among collectors, but I would like to hear from anyone who has actually used this camera to film with so they can share their experiences and what kind of images it produce. Pav
  2. Pavan Deep


    I will take some photos and start a new thread, it's just been hectic keeping track of things. Recently I have been working on multiple projects; the 100ft magazine for the ACL, reflexing a K100 to and have been building a 16mm scanner too. Pav
  3. Pavan Deep


    It sounds like a simple job to move the parts over to a new housing, but it isn’t and things aren’t cheap, I have been making a small magazine for my Éclair ACL that accepts 100ft spools of film, like many I like using the small 200ft magazine, I normally use 100ft spools in mine, because it’s a lot easier than getting film on 200ft spools or cores. I have been working out how much my 100ft magazine has cost me and have realised it’s been quite expensive. First; I bought an old magazine, it didn’t matter if it worked I just needed it’s front that clicks into the camera, it was an old 400ft English magazine, I have looked around and when they come up for sale they are between £100-£200, I cut the magazine down, this took a lot of time as I had to disassemble it, once cut I cleaned all the components and reassembled them this took a lot of time. Second; I made a new metal frame, because this frame is one piece it had to be strong and had to be made to precision, it cost me a lot, I drilled holes in the magazine front and attached the frame. Third; to make the new magazine light tight I made side panels again out of metal, because of the precision for making panels for both sides and front and ensuring they’d be light tight again they cost a lot. Fourth; I used nylon spacers for the rollers and long screws - these were cheap, I created a thin wall inside [like the earlier Kodak K cameras] and made two chambers and attached a take up spool to it, the wall is made of tin and again it cost hardly nothing, but the take up spindle cost a lot as I had made it out of light plastic via 3D printing, this is linked to large sprocket by a commonly found [Ebay] tape player belt. In total the magazine has cost me just upwards of £700 and I haven’t accounted for my time, or for my research, or the parts that I made which couldn’t be used because they were not right or slightly out of tolerance and then there were other costs for many miscellaneous items, tools and postage, so really the costs are probably nearer to the £1000 mark. Pav
  4. Pavan Deep


    You mean to have a magazine that can use the common 100ft spools in the Minima? It can be done I did it, but as I discovered it’s not easy, I built a magazine, that was the easy part, but my attempt wasn’t entirely successful, there were two reasons; firstly, I couldn’t create a reliable mechanism to drive the take up spool and secondly I think a crucial factor that I overlooked is the camera’s mechanism design, the way the film travels through the rollers, the claw and the loops these are all optimised for film is coming from the Minima spools which is emulsion out that has the right film curl for emulsion out film.. As far as I know Kodak doesn’t do the film anymore; apparently it's all about the 'natural curl of the film', in the original Kodak Minima spools the film was loaded emulsion out and this film curled in particular way. People often get Minima spools and load with normal film loading it emulsion out this film curls in a different way, but to get excellent results the film has to curl right, for normal [emulsion in] film it can take a while to get the to film curl right so that it behaves like film on the emulsion out and therefore the image may not always be perfectly steady. Pav
  5. Pavan Deep

    ACL motor

    Does anyone know how to build a new motor for the ACL? Pav
  6. Pavan Deep


    Yes the CP-16 and Eclair NPR and ACL viewfinders are all interchangeable. I use a CP-16 viewfinder with my ACL because it's smaller. Talk and discussions about a new S16 camera have come up often. If we look at the new Super 8 camera, this has been great publicity as for the format making it current and relevant to younger generations. I think it has been a great publicity stunt which has been all about promoting the format and creating a buzz. In fact virtually everyone using Super 8 are using older cameras, if and when this new camera comes out I think it will be far too expensive for many and people will still continue using older cameras. In the same way a new camera in S16 will definitely create a much needed hype, but at the same time I can see the complexity and the expense of making one, especially since the 16mm market is more complex than Super 8. Since there are hundreds of thousands of 16mm cameras out there in many ways it makes more sense to invest in rebuilding parts to make existing cameras more relevant for today’s users. In my workshops older 16mm cameras from the 1950’s, like the Bell and Howell 240 and the Revere 101 are very popular this is because they are small, simple and easy to use, after all they weren’t really designed for trained camera operators. There re a few disadvantages for the modern users; firstly they are regular 16mm, I can say Super 16 is more favoured than regular 16mm, so I have widened camera gates to Super 16 and I have been able to re-centre the lens mounts especially on the Bell and Howells, secondly they are non-reflex, to combat this there are two solutions; one is to use a ‘dogleg’ lens and the other is to install a pellicle - I have used both. These older cameras are noisy, to quieten them down I use a sound barney, To their advantage they are fully mechanical, this means they are easier to repair and rebuild. Comparing them to modern professional sync cameras is just silly, but their simplicity means they are ideal to introduce new filmmakers to 16mm. Pav
  7. Pavan Deep


    As a bit of an Ikonoskop 16mm camera expert I thought I'd chip in, I think the Ikonoskop proved that making a decent 16mm camera was difficult and expensive; for a market which is constantly changing and is very small, while their camera looks great and I love it, I must admit that it’s not a very practical tool. They decided not to have a reflex viewfinder [probably to keep costs down] and a lot of people were put off by this fact, the camera does have a variety of filming speeds, but one has to ask whether this was necessary and while the camera has sync speeds, it is quite noisy and not ideal for filming dialogue. A lot of my students prefer using older cameras rather than the Ikonoskop because they are easier to thread film and work with. As far as I know Ikonoskop 16mm cameras that have a reflex viewfinder modification have a pellicle mirror and a rather cumbersome Angenieux viewfinder for their reflex system. Pav
  8. I have tested it out of the camera, with a lens mounted on a camera front the slide as a mirror and a ground glass screen to focus the image, I am surprised that the image is very clear. Now I need to figure out how to cut the slide to permanently fit into the camera and test it with film. I’m not using a Webo I need to cut to fit my reflex unit; Pav
  9. I think I’ll say it here, the pellicle mirror is fragile and can break and is almost impossible to get. I just tried a microscope slide cover and it works, the microscope slide covers are incredibly cheap.
  10. Pavan Deep


    I think all that is needed is a simple camera, with precision mechanics rather than electronics, most older 16mm cameras are mainly mechanical and can be worked on and made to work as new because they have little or no electrical circuitry, understanding and servicing mechanics is much easier than dealing with bespoke electronics. An ideal camera is modular where the battery, motor and magazines are external and can be easily swapped, to start off with a simple motor with a single speed is all that’s needed, for the magazines to start off there could be one for 100ft, I am not sure about 200ft as no one supplies film in 200ft cores or spools, I find when I use my Éclair ACL I was always using 100ft spools in the 200ft magazine until I made a smaller 100ft magazine. I think the Éclair ACL is a good example of a modular camera, I know many don’t like it’s odd reflex system, but I do know some people have removed the original ‘Pendulum’ reflex system and have replaced with it with a fixed pellicle mirror. I know from personal experience that almost all Ikonoskop 16mm cameras that have a reflex viewfinder modification have a pellicle mirror for their reflex system. Pav
  11. Apologies I didn't read all the posts thoroughly, my question was based on your original post where you say you were disappointed with the K100. As for a reflex option I believe with all these cameras we can use dogleg lenses like the Angeniuex 17-68 or the Som Bertiot lenses. Pav
  12. Can I ask what issues did you have with the Kodak K100? Pav
  13. Most of the Murray's on sale seem to have the Super 8 head on. Are you still looking for one?
  14. I have 5 sealed rolls of FujiFilm 64D in 35mm, this is the very last batch of film that Fujifilm that was ever made and I bought in March 2013, it has been refrigerated since. I also have 7 cans of Kodak 35mm film re-cans 300ft and 200ft. I don’t have a 35mm motion picture camera anymore and so I want to sell. All films have been refrigerated and stored well, though apparently because of their age I've been told that they should be over exposed a little. Pav
  15. I have been out taking photos with it using my digital camera and I can't see a yellow tint I would love to have it sorted. How much would it be and is it worth it? Pav
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