Alex Turner

I've listed the camera package on Ebay & added a little more info. You can see the listing via the link below: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=140385650870

That's strange - you should be able to. Feel free to email me at atweb1@gmail.com

Forgot to add this link - more photos of the camera can be found here: http://picasaweb.google.com/atweb1/ECLAIRNPR#

This is my personally owned and operated Super 16mm PL Mount Eclair NPR Camera package. I’ve used it on several projects, most notably as a b-camera on portions of my last feature film, RED SANDS (http://www.imdb.com/title/tt1103256/). Originally modified in England by Les Bosher, this complete camera package comes with both an Arri PL mount and a re-centered "C" mount. This complete package includes (3) 400 foot magazines, 1 Angenieux 17.5-70mm T2.5 PL mount lens, 1 Kinoptik Tegea 5.7 T1.8 C-Mount lens, 1 Switar 10mm H16 RX T1.6 C-Mount lens, 1 Angenieux Orientable Eyepiece, 1 custom Perfectone motor (crystal & HMI speeds, 10 to 40fps), 1 hard to find Tobin Milliframe Controller TMC, 2x 12v battery packs with chargers and 2 Pelican 1600 cases. This is the perfect camera package to shoot just about anything, be it a spec spot, documentary, indie-feature, music video or to use for pick-ups. I don’t believe you can find a better complete Super 16mm package for the price ABOUT THE CAMERA: The NPR was really the first of the so-called “cinema verite” motion picture cameras. The first to offer factory-installed wireless crystal sync sound shooting and the first camera to ever be modified for Super-16. You cannot open an American Cinematographer magazine from the late 1960’s through the 70’s and not find it packed with articles about films being made using the Eclair NPR camera. Rugged, dependable, adaptable, reliable… ABOUT THE INCLUDED LENSES: Angenieux 17.5-70mm PL Mount Compact Zoom Lens Custom PL mounted Angenieux 17.5-70mm lens covers Super 16mm throughout the zoom range. Front and rear caps and zoom stick are included. This lens is also compatible with single chipped PL mounted digital cameras ie. Red Camera and SI-2K. Kinoptik 5.7mm T2 C-Mount Amazing ultra wide angle lens. This is the widest non-fisheye to cover the Super 16 format without vignetting. Great for hand held shots or use it with a Steadicam and make uber-smooth fluid shots. Includes front and rear caps. Switar 10mm f1.6 C-Mount Shows signs of use on the outside but glass is clean & sharp. Close focus to 8 inches. Can be used on any C-Mount camera. Front mount is 32mm. This is a sweet little lens – the 10mm Switar in particular is famous for its stellar performance and color reproduction. Includes front and rear caps. ABOUT THE OTHER ACCESSORIES: Tobin Milliframe Controller The Tobin Milliframe Controller (TMC) permits speed control of a compatible movie camera in .001 FPS (frame per second,) or milliframe, steps. This is done to enable filming at various rates under HMI discharge lamps, fluorescent lights, or metal-arc street lights without having a flicker or pulsation in the film. Or, it enables filming with a video or computer monitor in the shot, controlling the shutter bar. It can just be used to provide traditional speeds that are not present on the camera's speed dial. * Please note you will need to purchase a Fischer connector cable from a vendor such as Visual Products or DuAll Camera as we lost ours on a shoot. Arri Compatible Support Rods The Arri Compatible Support Rods allow you to mount a follow focus unit, Matte Box and other accessories. Pelican 1600 Cases Pelican cases are basically unbreakable, watertight, dustproof, chemical resistant and corrosion proof. They are made of Ultra High Impact structural copolymer that makes them extremely strong and durable. Pelican’s exclusive 1/4" (6.4 mm) neoprene o-ring and ABS latches seal perfectly and include an automatic purge valve for quick equalization after changes in atmospheric pressure. These are the best transportation/storage solutions available for your gear. EVERYTHING INCLUDED IN THIS SALE: 3x 400' Magazines Custom Perfectone Crystal/Variable speed motor 2 x 12 volt 5ah Battery & 2 chargers Angenieux Orientable Viewfinder Arri Compatible Support Rods Super-16 1:66/TV Groundglass (Bernie O'Doherty did his “Laserbrighten” process on this) Angenieux 17.5-70mm T2.5 PL mount Kinoptik Tegea 5.7 T1.8 C-Mount Switar 10mm H16 RX T1.6 C-Mount Tobin Milliframe Controller TMC (missing cable) Sound Blimp for Magazine 2x Pelican 1600 Cases Instruction Manual (reprint) $3500.00 Fell free to call Alex @ 310.770.5606 or email with any questions. I’m located in San Francisco but willing to deliver to the Los Angeles area.

I use the orientable Angeneiux viewfinder with my NPR, which I believe has the same mounting thread as the ACL. Cinema Products also made an orientable viewfinder which some people prefer to the Angeneiux. The Kinoptik was always something of a dog - sure you can position the viewfinder for a better angle but what's the use if the image doesn't remain upright? Call Whitehouse AV, Optical Electro House or Bernie at super16inc.com - if you have a question about an Eclair camera they will probably have the answer you are looking for...

Call the folks at Whitehouse AV - I believe they have a nice CP orientable viewfinder that fits the NPR.

Whitehouse AV carries a line of PL mounted Angenieux 17.5-70mm lenses. They cover super 16mm throughout the zoom range. I believe it's around 1K. It's a nice lens, certainly can't beat the $$. I own one and my only complaint is pronounced breathing when racking focus. Check out their website for photos: whitehouseaudiovisual.com Good luck with your search.

Eclair NPR Super 16 movie camera; PL mount AND C-Mount (Les Bosher did the conversion); Angenieux orientable viewfinder; Variable shutter from 5 to 180 degrees, Perfectone Crystal motor with HMI speeds; three S16 converted 400" mags; one 4x4 matte box and rods (optical flat, pola, nd filters included); Laser-Brightened ground glass; two Bescor 12V batteries with chargers; C-mount to Nikon Adapter, at least a half dozen lenses including a Switar 10mm, Kinoptic 5.7mm, PL mounted Angenieux 17.5-70mm, Nikon 80-200mm + more. Package also includes a TCS speed control (no cable, sorry) and 3 large Pelican cases to carry it all in. Really beautiful camera in perfect working condition. Just shot 2nd unit and some pick-ups for my upcoming feature and now I hate to see it gathering dust. Will not split up the package, sorry! Make me a reasonable offer and or e-mail me for more details: atweb1@gmail.com Local CA pick-up only - I'm in the Pacific Palisades.

My point is just, practically speaking, investing several thousand $$ into a 16mm camera that has a fixed 1.33 aspect ratio does not seem like a smart investment at this time.

I would strongly recommend against buying a BL if only because you are stuck with a 1:33 aspect ratio. IMO regular 1:33 is a dead aspect ratio whereas 1:66 can be scanned for HD, blow up to 1:85 35mm, blah, blah, blah... Also, the 16 BL is is a real brick to handhold, and I won't even start on using primes with that front blimp housing. For shorts and doc work I would not get this camera. You would be better off with something like the Panasonic HVX200 and shooting video. If you are set on shooting film, my 2¢ would be to buy an Eclair NPR or ACL and have Les Boscher or Bernie O'Doherty upgrade the camera to super 16.

I'm using a Angenieux 17.5-70mm on my Super16 NPR. It's an odd little lens that I got from the nice folks at Whitehouse AV. Nice and sharp with decent contrast, it covers without any vignetting and is very reasonably priced (under 1k). Only issue is pronounced breathing when racking focus. Mine is PL mount but I believe they will supply in other mounts on request. I've also found that most of my older manual Nikkor SLR lenses work exceptionally well with the Super 16 format. In fact, my 80mm to 200mm Nikkor has become one of my favorites.

Well, for example, in Los Angeles there are several companies that I feel are teriffic for cinematographers and then there are the places that producers love because of low rates but, in my experience, generaly maintain shoddy equipment. Of course there are many, many different variables involved with every experience but, generaly speaking, from a profesional's standpoint, I am curious to hear who has treated the folks on this forum fairly and rented consistantly reliable equipment. In Los Angeles I've had great experiences with Clairmont and Panavision. In NYC I would recomend CSC.

Is there already a forum here that compares various camera equipment rental companies in the US? I've had my share of good and bad experiences and would love to compare notes.

Curious if you have sold the camera yet?

The Angenieux 5.9mm does vignette just a tad, but if you are doing a DI or film to tape you can push in just slightly. You do not lose the wide angle effect at all. I do have a 5.7 Kinoptic C-mount which does completely cover S16 that I might be willing to part ways with...

I gave up trying to work out this problem myself and bought a 12V battery pack, charger and cable w/Tuchel connector from Du-All Camera in NY. It was a little steep (around $300) but worth every penny.

Forget the Kinoptic and pick up Angenieux 5.9mm. I use mine on a Super16 Bolex EBM (!) and it works great.

Beaulieu R16 REFLEX 16mm motion picture camera and 200 ft Magazine for sale. 2 - 64 fps, mirror shutter, forward and reverse with 100 ft daylight spools, single or double perf, 200 ft Mag. The mag comes with a spare 200 ft reel (which can be difficult to find). This camera uses the same C-mount lenses used on every Bolex. Also has a built-in internal light meter, making it a great starter camera. Handle is the original battery, which is not working. The camera is powered by an external battery pack which takes c-batteries. This camera is in working condition and I hate to see it go but I just do not have use for it any longer. I have used it on several music videos and commercials as a B camera, easy to run around and grab extra footage. Also makes a nice prop. Check out the listing on eBay: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=140114879833

I'm selling my classic Bolex! Accepts C-Mount lenses. Rubber eyepiece. Round base. Spring driven and reliable, I?ve never had problem with it. Anyone who makes films has owned one of these or should. It?s perfect for student filmmakers as well as professionals. Check out the listing on eBay here: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=140114930458

I've got a Super 16mm Bolex EBM and my Angenieux 5.9mm covers 99% of the frame with just a hint of vignetting arround the corners. If you are doing a DI or HD work just push in a little, little bit and you're done...

Actually, I?ve found Nikon lenses to be quite sharp, certainly comparable if not better than an old set of Russian primes. Of course it depends on what the condition of the lens you are using is. The Nikon adapter + lenses are relatively inexpensive to boot.