Evan Ferrario

Thanks for the help, the filing does go below the original "bottom" of the 16mm gate. I have taken a few pictures as straight on as I could but I might have to eyeball it myself. The thing is, the lens mount doesn't look like it was ever modified. Are there any signs I could look for to see if the mount was moved?

So I just got the NPR I need some help deciding if I should keep the damn thing. My biggest problem with the camera was the seller did a horrible job packaging the camera, there was a round knob that appears to have broken off from the motor, I have included a picture of it. I'm sure I can repair it but it doesn't leave me very confident that this fragile tool was bouncing around in a poorly packed box. From the looks of it, this is not a professional super 16 conversion. I have included pictures of the gate which appears to of been filed. What I am suspecting is that the lens wasn't re-centered, just the gate was filed. Is there any way I can check if the lens has been properly re-centered? Also, did the shutter need modification as well? I am assuming I need to shoot some film to find out and I can do that quickly if that's the case. I am leaning towards returning the camera just because I bought it on the super 16 selling point. I don't have too long to decide one way or another so any input is appreciated. I knew it wouldn't be perfect based on the price I got it for but my question is, can I shoot super 16 with this camera or is it just a regular 16mm with a widened gate. I am new to the NPR so I am reading the manual tonight before I attempt to run the camera with a dummy roll. Also what is the lens mount I have pictured, it is different than the one on my ACL. I can provide any more pictures/tests once I know what to look for

I recently got a roll of Kodachrome II movie film with an old revere windup camera I bought off ebay. I was wondering if there are still places that develop Kodachrome II, I looked on Dwaynes website but there was nothing specific to KII. The roll I have is KA 449 Type A 16mm. On the back it says Movie Light ASA 40 17 DIN. On the side it also reads Emulsion: B. If this is still able to be processed I will shoot something with this film.

i verified with the seller that it is infact super16mm and the lens doesn't cover the film at the wide end of the lens.

i just got won an eclair NPR super 16mm on ebay http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...T#ht_500wt_1182 It was $981 for a super 16 NPR, motor, 400 foot magazine and Angenieux 12-120 lens I had no intention of buying an NPR, I've been trying to get my acl package all together however for the price, super 16mm, I couldn't resist. I've also been in need of a 400 foot capable magazine. I've asked the seller to confirm that it is super 16mm before I send the payment. I was wondering if anyone could tell me more from the pictures as the seller didn't seem to know too much about cameras. I don't think it is a scam as I have contacted the seller and I am protected by paypal. This just seemed like too good of a deal to pass up.

with cinelicious, Ultra16 is finally a viable format. It is a fairly easy mod, I have an eclair acl and a russian 16mm camera in ultra 16mm. The eclair I bought with the modification already done and the russian one I did myself with a friend who is a mechanical engineer. If you do it yourself, check that the filed edges are not scratching the film. The first time I shot with my russian 16mm, there were little balls of gum from the film which had been scrapped off by the edges, after we filed the edges down more and checked them for scratching, it worked great.

I stupidly missed the 400 foot magazine that sold on ebay a few weeks ago. I have an eclair acl and I desperatly need a 400 foot magazine for the camera. I have been respooling my 400 foot reels onto 200 foot cores but I still need more time from each magazine. If you have one, working or in need of repair, and are willing to sell it. Please let me know.

If you want the freshest film at usually the lowest cost, buy direct like everyone else says. I recently bought an order of Fuji 250D for 33 cents a foot. You can get a discount if you are a student or purchasing a large order. I've had some luck getting cheap film on ebay for tests and experiments. You can find it for as low as 5 cents however if it's an important project, its worth it to get stock you know if 100% good. Cinelab in Mass has processed all my 16mm and I've gotten great results. It really depends on where you live.

thanks for the help, I don't think it would be a big deal to request the spool back as it isn't a usual size, I will ask the lab first. I am in a similar boat where I have a bunch of 400 foot rolls that I wanted to transfer to 100 foot daylight. I just wanted to have the option of 6 minutes as well.

Thanks, that is exacally what I'm looking for. How do you go about sending them to the lab? Will they be able to take them as they are and send them back? Or do you transfer it to another core.

I have some 400 foot rolls of film I wanted to use in my acl which I only have a 200 foot magazine for. I have a bunch of 100 foot daylight spools, but I wanted to try a 200 foot roll if I have to respool the film anyways. My eclair came with a core adapter for 200 foot rolls on cores. My problem is that the camera came with only one of these adapters. How can I shoot 200 foot cores with only one of the adapters, or do I require two for shooting 200 foot rolls?

I just did the sharpie timing check and that appeared to be okay. I realize now how the clicker works and think its a great invention. And my camera is much quieter too now that I know it's not part of it. I am going to have it checked out by a professional before I do anything major, but I am considering doing one more test roll.

So I just got my first roll I shot on my acl back from cinelab and in the box it had a note saying "cam problem". I looked at the film on my projector and sure enough, it was a blurry to a point where nothing was recognizable. The 2nd shot is a guy standing on a dock over a lake with his reflection below him. Just to give you an idea of what it was. Now I know I loaded the magazine with the loops too short. I have recently seen the video explaining how to load an acl 200 foot magazine. My magazine has a clicker and I think this was clicking the whole time, I thought it was part of the camera as I had always heard it. The images are just screen grabs of a projector playing the negative on the wall, the saturation and overall color correction are terrible so judge the problem based on image sharpness not color. I know the projector was in focus so the focus problem all came from the camera The one good thing I learned is that my camera is covering the ultra 16mm frame. It won't show because the projector isn't widened, but when I looked at a frame, it went between the perfs. Anyways I really am hoping this is just from loading the magazine wrong, but it seems too severe. We were focusing based on distance measurments so I don't think the lens had any problem with it. Also we shot really wide, 12mm most of the time. I have seen the guide showing how to check if the film is moving when the gate is open and I am going to check that. It might be hard to just from two still pictures, but if anyone has seen what improper loops looks like, could it make the image this bad? Thanks in advance for any help. I know I need to get the camera serviced before I do any major project with it but I am just finishing school right now and don't have extra money. I would like to shoot another test roll if the magazine could of caused my problem.

thanks for all the replies, it is very helpful. I will not use the behind the lens filter, Bernie is one person I trust to know the acl in and out.

I recently participated in a local film festival in syracuse, ny. The rules were that we got a roll of 8mm, had to shoot it, and didn't get to see any footage until the screening. It was a small event with about 20 participants but it was a lot of fun. I did put one crossfade in afterwards on my computer to make the movie fit to the song. I have shot 16mm but never 8mm before. http://www.youtube.com/watch?v=8bsGl5-YJUQ...feature=channel watch it in HD to get the nicer version. Right now the only version I have is from the festival recording. I am getting the original back and might transfer it when I have the money.

I have owned a fx7 for about 2 years. I think it is a great camera and ahead of it's time. Despite many critics who say the z1u and fx1 are a nicer camera, I think most cinematographers prefer a bigger camera so the z1u seems more professional. I had a z1u and my fx7 together for a shoot and the images from the fx7 were noticably nicer, especially in low light situations. In a nice bright lit space, both seemed comparable. The mic upgradability is one downsize. I use a xlr to mini adapter for a shotgun mic but even I will admit there is a lot of noise to this method. The on camera mic is great but it picks up everything, if you are around cars or a buzzing machine, you're going to hear it later. Here is a trailer for a feature I shot on my fx7 last year http://www.youtube.com/watch?v=t2_kGjJ1XMY . It is only watchable if you load the HD version. I have done a lot of color correction and I compressed all the footage to 24p from 1080i using compressor before I edited the piece. I have the V1U available to me at school and I couldnt tell the difference between v1u 24p converted to true 24p and fx7 1080i converted to 24p. If you have any specific questions about the fx7 please ask, I have used the camera a lot and feel I know the best way to get great images out of it. HDV is the biggest obstacle because fast movement just makes it pixilate. An interesting option with the fx7 is a blackmagic Intensity HDMI capture card. I have been considering getting one of these and a long HDMI cable. Using the card you can record true HD from the HDMI port on the FX7 by skipping the HDV compression. Granted the camera always has to be connected to the computer but I still think it has some interesting uses.

I have just gotten a good deal on Fuji 500T short ends. My issue is I want to use the film in my acl to shoot a short outdoors in some bright sunlight areas. I need a 85 filter to correct the Tungsten to daylight and I also need ND filters to shoot the 500t in daylight. What I wasn't sure about is if I should put both filters in the filter holder behind the lens. Or if I should put the filters infront of the lens. I know focal length makes a difference in filter placement and I wanted to use the wide 12mm most of the shoot. I'd like to use the filter holder built in unless there is a disadvantage to it. Also if someone could point me towards a website for buying filters, it would be appreciated.

on my acl motor, towards the lens is 24, towards the back of the camera is 25fps. Did the marking rub off?

The gate is actually ultra 16mm. The seller said he had it professionally done and I hope the test reel will reveal if there is any scratching. Some people would shy away from a camera with ultra 16mm so I bid on it hoping it would sell for a little less because of this. Cinelicious is offering a new ultra 16mm transfer which looks really promising. I am going to be shooting a short (5-10mins) through december with ultra 16mm workflow to see what the results are. I would like to eventually get this camera properly converted to super 16mm, I just don't have the money right now. I was hoping to do a major upgrade with new glass, gate and matte box eventually once I have the money saved. Until then, I am trying out ultra 16mm, which I am happy with over regular 16mm, but I would eventually like it to be super-16 as that is the real standard.

So I just got my acl in the mail. I am very excited, it feels much heavier and studier than my K-3 or my russian sp-16. I wanted to post some pictures to make sure everything looked alright. It was advertised as an ACL II however, I am not sure. The serial number on the camera body is 1719, the serial number on the motor is 2181. I did not know if this indicated that the motor wasn't the original. If anyone knows more I would appreciate it, not that it really matters, I care more about the camera functioning than what exact model it is. I would like to get some 400 foot magazines in the future, I want to make sure my camera can handle those. I have read the manual and understand all the buttons, I wanted to know if there were any other secrets of the acl I should be aware of. I am going to shoot some tests with it this week, hopefully I will have results back soon to share. I am a little confused about the magazine. I have about 10 rolls of 100 foot daylight spools I want to use with it. Should both reels have a 100 foot daylight core on them? The reason I ask is because the take up side had a special core on it, if i removed it, the 100 foot daylight fits, but I wanted to verify this was the right thing to do. I am assuming the special core it had inside was for 200 foot reels.

I just won a eclair acl that came with an ultra 16 gate. I am very excited to try this format out. I will be shooting a short during december in ultra 16. I will post some pictures after I get the camera and check it out.

very exciting, the footage looks of the highest quality, I was very impressed. I was wondering if there was also the option of keeping the footage as 1.85 aspect ratio?

I have about 10 rolls of 30M test footage shot on eterna 250D and Kodak 250D. I was wondering if anyone could recommend a cheap place for processing, they were shot on old film and just used to test things out. I have used cinelab in the past and got great results but they have a 200ft minumum per stock, I have only one roll of the Kodak which I really want to get developed as well. I only need processing, no transfer.

I was wondering if anyone else has seen the movie C'était un rendez-vous, I searched and couldn't find any topics on it. It is a 1976 French Film made by Claude Lelouch. In it he drives a mercedes at extremly high speeds through the streets of Paris. It is all one shot and mounted on the front of the car. you can see it on youtube, a friend showed me it on DVD and I was blown away. I was wondering if anyone knew the technical aspects of how it was shot. It is clearly a really wide angle lens. The car goes through so many differently lit areas as well. If anyone knows anything more about this short film, I'd love to know.

http://www.photosonics.com/35mm_6el-1-inch_psi.htm I found out some information about the camera from this site and my friend who purchased it. 35mm-6EL 6 to 250 fps Pin-Registered, 1-Inch Format It appears to shoot a really tall format. Each image is 6 perf and there is space at the top and bottom for information. I do not know if I can find a magazine, I think a lens mount would be easy to make, the magazine is the hard part.