Topher Ryan

Thanks David. I'd heard of the Cameflex and Camerette, but never looked much into the 35mm world. I had thought that the NPR was the first camera with "quick-change" style mags, but apparently the Cameflex had something similar in 1947. Was the Cameflex the first camera to incorporate the back pressure plate in the mag? Did these cameras perform reasonably well in 16mm, or did they suffer in either format for trying to do 2 things at once?

So, Eclair buffs, What in the world is this camera that shoots 35 and 16mm? There is one on eBay right now, item #: 270320363048 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=270320363048 Would you automatically have an ultra 16 and super 16 camera too? The picture of the gate is pretty interesting and I can imagine the whole film path is too. Were there other manufacturers that made dual format cameras. What is the official name/model of this thing?

A quick search on youtube with "100 D kodak" turned up a few more. Some of them were cross processed I think, so keep that in mind. You may be looking at a cheap video transfer further worsened by youtube compression, but maybe you can learn a little about the look. Try a search on Vimeo.com with various keywords. It will be slightly better looking than youtube.

http://www.electrologic.dk/include/mov/K3demo.mov

I've used them on occasion since '02 or '03. Never had a problem. Customer service on phone was always good as well.

As far as film transport, how about just using a camera with time lapse motor? Then sync that up to a laptop controlled DSLR storing files to hard drive. Couldn't this be done without any fancy mods or computer syncing? I work in 16mm so I'm thinking a bolex (ideally w/ 400' mag) with Tobin time lapse motor. As for control of the DSLR, most come with time lapse software for remote firing/storing on your laptop or external drive. I just looked at the innards of the Bolex, and maybe there is another camera out there that would have more room for getting a light behind a modified pressure plate, but the bolex is the cheapest camera that came to mind with readily available time lapse motors.

What would be best for transporting the film in one of these DIY setups? Projector, cine cam, steenbeck, moviola, etc? I have access to all of these and a DSLR that never gets used, so I'd love to see this further discussed or any resources linked. I've heard shutter mechanism death listed as a main hurdle, but honestly, you could probably replace the shutter mechanism every few thousand feet and still come out ahead, money wise. (approx. $100-150 USD last I checked) Has anyone had experience with mirror lock-up mods in their DSLR's? Any models particular good for this?

Is the light loss when using the Schneider UWL converters of any significance? Would I rate my film any differently as though using a filter?

Oh no, I should make this very clear. Jason in Kingston New York IS the legit seller, as Tim pointed out. Someone has taken the pictures and info from his listings and set up some fake listings. Please read the entire thread and especially Tim's first post.

If anybody here is skilled at internet vigilante justice. Shoot me a PM and I'll give you the other info I have on the scammer. These things piss me off to no end.

Great, I was hoping someone would recognize the pictures. I will gladly edit/remove my post, but I felt this deserved some attention.

Just wanted to give all the decent people out there a heads up: PLEASE READ AND COMPARE ALL FOUR LINKS. Decide for yourself! http://dallas.craigslist.org/dal/ele/1029104653.html http://www.tradepoint.ca/RegularItemDetail...x?itemid=170976 http://www.mandy.com/1/class3.cfm?v=31622574 http://www.betadev.org/forsale/Aaton/Aaton.html

Wondering if you got around to doing a test with the new mount ring. I'm most curious about the peleng since those two items (re-centering ring and peleng 8mm) have been on my to-do list for some time now. Also, wouldn't the wider lens be more sensitive to FFD problems? Were there any shims behind the m42 mount when you removed it? I'm assuming that is how FFD is adjusted on the K3, but it would only give you adjustment in one direction, assuming no shims behind original mount. Some very precise machining to the ring could shorten the FFD, but hopefully the re-centering ring is good right out of the box.

I'm knee deep in mags so you can have at it. Were there ever 200' mags for the NPR? I know the ACL had them. I am interested in seeing the matte box. Your mailbox was full so I'll try PM again tomorrow. Thanks

Wonderful! I had been wanting to make a thread to remind people of the lost info on the old homestead AOL sites. I didn't think I had the time/knowledge to pull it off (a new site not the thread ;) ) so I am glad to see you did. Most all of the original info for the NPR site is available at http://web.archive.org/web/*/http://members.aol.com/npr16mm Not sure who the webmaster was for that one, so it might be hard to get permission to use. Maybe just put a big fat disclaimer crediting the mysterious author. Somehow, I feel he or she wouldn't mind getting his/her info back online. Anyway, glad to see this happen!

Looking for either a Perfectone Compact motor or Alcan 54 motor for an NPR. Also looking for the matte rail bracket for NPR. Feel free to correct my terminology there :huh: Looking for the fully orientable viewfinder as well. Having trouble finding these items outside of full camera packages... Thanks

Enjoyed the time lapse clips, Robert. Care to share any specifics on what you used (stock, lens, camera)? Always love to see the stars in motion.

I had almost the exact same experience phoning that guy about his NCS K3 battery adapter. Giggly fits and all. Will, this is the first time I've heard of the viewfinder being widened. Can you actually see the entire 1.66 frame now? I actually asked one of the guys at Duall last time I was in there, about modifying the viewfinder, and he didn't sound too hopeful about it.

Wow, good info on the Arri mirror in that other thread, pictures, diagrams and all. Thanks Tim. Perhaps we could talk about which of the cameras in the list might be better candidates than others. From Cinelicious site: "Other Ultra 16mm Conversions There are many other 16mm cameras that are good candidates for Ultra 16mm conversion. Here’s a list: Arri BL, S, M Beaulieu R16 Bell & Howell Eyemo Bolex H-16, Rex 4, 5 Canon Scoopic Cine Kodak K100 CP Gizmo, 16A, 16R Éclair (NPR, ACL) Kinor 16mm Konvas 16mm Krasnagorsk K3" *I've added NPR and ACL to the list by Eclair, since they use two different style mirrors, I think it's necessary to distinguish

This question is directed at Tim, but anyone else is surely welcome to chime in: I've always heard that the Arri 16S was a bad candidate for super 16 conversion, what are the prospects of converting the 16S to Ultra 16? I would also extend this question to K3's to any K3 buffs who may be reading. Paul, I see that both of these cameras are listed (with many others) as "good candidates" for Ultra 16 conversion. I'm not sure if the list is simply compiling all of the low-cost 16mm cameras out there, or if you have actual experience with converting each. Regardless, thanks for your work toward keeping film alive.

I like Grandma's style!

Alright, I'm just gonna boldly stumble in here and say that the fisherman was shot on film and the statue originated digitally. Is it a trick question? Am I wrong? I don't mind proving someone's point if I'm wrong, but those clouds look like a dead giveaway for DSLR work. Good Day gentlemen. Answer please...

Thanks Leo, always helps to get terminology straight. I should have known that, since I've owned a few full-frame fisheyes for video and still photography and they were always designated "fisheye". It just confused me when the circular look was brought into the mix. That does makes sense to differentiate as "circular" or "full-frame". OK, so now I know I'm looking for a full-frame fisheye lens with super 16 coverage on an off-center m42 mount, whew. And thanks for finding the bike footage, Ian. It's great to see more examples where the lenses are specified. Here's another thread I found with some Meteor Zoom/Peleng footage on regular 16: http://www.cinematography.com/forum2004/in...2&hl=peleng direct link:

Thanks, Ian. I should have done a bit more digging. There's some really good info in that thread. Good luck on the remaining 25% for your Arri mount... too close to be shelved! (easily said) Will, that linked clip gives me a pretty good idea, so don't bother digging unless you get bored. I'm gonna search around a bit more to find an un-centered mount super 16 clip/still with the Peleng. I'll update if I find anything for comparison. Thanks guys.

Maybe I shouldn't say "fisheye" as I don't want the the full circular vignetting like the Peleng gives on a 35mm slr. I just want the widest possible lens that covers the super 16 frame with no vignetting. It sounds like the Peleng 8 is going to be my solution as far as m42 mounting. I have a kinoptik 5.7 (Arri std. mount) for some of my other rigs, but I don't want to do major surgery to the K3 at this point to get a compatible mount. My little wind-up Russian tank is going into battle and the Peleng and other m42 glass will be (slightly) easier to replace should she take a hit. Will, I'd love to see any samples if you ever come across them. Were you shooting with a re-centered mount or the stock K3 mount ring?