jeroenvanderpoel

Hey all, I have a eclair acl, converted to s16mm by les bosher, plus a les bosher pl mout, batteries, etc. Everything is in perfect condition. Is there anybody interested, or should i keep the package. Iam not using it anymore and end up everytime hiring a s35 film camera or a ss16 with timecode, and sdi..

Up for auction is this vintage Cooke lens. Buy it through Ebay or do a good offer and buy it directly from me. Next week I will put a cooke kinetal 25mm t2.0 up for auction! poel.jeroenvander@gmail.com

The Pl Mount iam using is a Les Bosher Pl which fits on the large thread of the ACL is Called a CS Mount. The Prices you have mentioned are kind of right. If you need A Pl Mount ask Les bosher, hes quiet fast, the last time it took him 2 weeks...

Hey Daniel, The large thread on a acl2 is called a CS MOUNT the PL will fit directly on this beautifull and easy going mount. Iam not willing to sell this part seperatly because I feel that this package which I offer will fit all the needs for a indie filmmaker, You can work with ultraprimes, or go vintage with the cooke kinetals (which have a really nice contrast, color matting et, bookeh, and which will remain sharp at t2.0,) Maybe Iam wrong, but working with such a package gave me as a filmmaker numerous options to shoot low budget stuff with a high end look, and its a collections, and seperatly all the parts are not worth anything (except the cookes which will sell around 900 per prime on ebay)

Hey Gregg, I have to do some research to answer your question properly. So far iam concerned I know that the older batteries will drop very fast under the voltage which hey need to provide, I work with batteries which my father provided me, And we did some test even on 75 frames per second, and on 75fps it wont drop under the normal voltage before you reach your 5th 400 ft can of film. But as you see my knowledge about batteries is not really promising :) The batteries are about 4*4*10cm in size and we have a small pocket were they fit in which you can snap to your belt...

I AM willing to lower the price to 1800 euro! Everything is in perfect condition...

Hey Gregg, Edwin Schouten from Etkon, used to have 30 eclairs back in the 80s in service contract, so he has enough knowledge. But hes more a 35mm cam guy, so his core business is overhauling 35mm cams, and digital, creating all kinds of mounts, and he builded his own steadycam model which sells pretty damm good! greets Jeroen

By the way its an ECLAIR ACL 2....

http://www.cinematography.com/index.php?showtopic=58439 HERE IT IS!!!!

Iam willing to sell my Eclair acl s16mm camera and lots of extra's. The package contains: * Eclair acl s16mm configured by Les Bosher * 2* 400ft mags * multiorientatable viewfinder * 2 small batteries whcih will run over hours and hours even on 75 fps * battery charger * crystal sync motor (24fps 25fps 50fps 75 fps) * pistol handheld grip with start button * CA Mount * Arri st. Mount * Pl MOUNT * cooke kinetal 17.5 mm t2.0 * cooke kinetal 25mm t2 * A Hardcover CASE for 2 mags the camera, batteries and lenses (and room for some more stuff..) The camera is recently checked by Edwin Schouten (etkon.com) and everything is fluently working and in perfect condition, I shot kilometers of film on it and never had any problems. I will sell the whole package for 2200 euro excluding shipping cost. I live in Amsterdam, and if you have any good reasonable offer just give me a pm. I will put the camera and lenses up for auction on ebay in two weeks. This weekend I will photograph the whole package... If you already want some nice on set photos of this camera just pm me!

I have one for you together with 2 cooke kinetals, and pl mount, and arri standard mount, a case and lots of other cool stuff celling all together for 2000 euro

Cineco is the way to go!!! They have setup a partner deal with kodak and fuji: S16mm 1 400 feet can + development + 2k scan for 275 euro!!!!! That means 12 minutes of film at 2k for 275 euro!!!! Cineco.nl

Lol. The green screen was keyed out in 5 min right now all the spill is corrected. The camera movement is tracked in boujou and now being replaced in 3d smaxx. I shot 8 sessions in this project with only runners non professionals and each session was shot in an hour from the moment they arrived.. the self builder master tld on the back of the Windows were covered with full green and nd 0.3. Because it was far to light. About one stop above mid grey... It's now about 1 and a half stop down 19 percent grey. The place we shot was so small that the green screen was 1 meter further away then the Windows. I first had to test how to light it up proper and now everything seems ok.. and about the girl: I should have give her more backlight or put her on a different position. I made a mask with a nice feather. Drained everything keyed parts of the greens out and hue shifted the rest -40. . You can't barely notice it right now... But I will never make such a **(obscenity removed)** up in the future :)

The t9 on my Htc didn't do any good on my text.. hopefully you can encrypt...

Chris!, the trailer was shot outside in the shade. We had a very small budget... Because we shot on Fuji vivid 160t and on 50 fps and some of the shots even 75 I needed some light. So the shade and some negative fills etc gave me the right. Amount of fill the rest is done with a 2500 him and a 1200 both to a big frame I think half wd for the fill with the 1200 some rim key with the 2500 through full wd. I had a 575 for some bouncing off gold reflectors I used a lot of red on the fill to control the contrast in the post with a red curve.. the backdrop was really bad because it needed to be big because I flagged some skylight off and make sure that it was about two stops darker dan de black clothes. In the end I extracted the shadows to alpha parked them and blended them with a grey gradient. The film was 2/3 d stop over @ the key.. I didn't wanted to overexpose more because I like a snowy grain. Just enough to lift the shadows out of the feet of the film. I just don't like the way some s16 shooters overdose too much I like strong highlights... Everything was shot on a cannon 9-64mm and my own Claire acl. The film was scanned to 2k.. greets jeroen

another comment: try to avoid shooting with such a long focal length.. The air is so humit that everything gets fogged and grayed out, and desatured. unless you want such a look..

I think you ve been underexposing your negative a bit too much, and your lens is not that sharps, and has a very flat look. just use a incidental meter put in your key (direct sunlight) and overexpose 2/3 stop over. What kind of lens do you use (it flairs so your white and black point are very gray). Here's an example of the fuji eterna 500t overexposed half of a stop on the key.. It still looks amazing.. password: hb http://vimeo.com/32099398 password: hb I will post some 2k scann tonight shot with fuji eterna 250t (has the same grain profile as your film does)..

Here's the final export. I extracted the shadows to alpha and blurred them slighty, Then i compressed them with a variabel bitrate and here's the pleasing result: password: hb http://vimeo.com/32099398 password : hb

It was scanned on a arriscan at a resolution of 1920*1180 (a bit height is a bit higher because s16 is more closer to 16:10) , its just that vimeo or youtube or whatever will never do any good to film, because of the compression, especially keyframing. I tend to extract the shadows of the film, while they are ok to be a bit unsharp while they dont display any details and unsharp them.. i will post my results later on..

i ment to say 500 in stead of 320.But what do you think of the grain, i overexposed 1.1/4 stop at the key of the girl..

oei big mistake i shot with fuji eterna 500t and i rated it as 320, but still was a bit dissapointed with the grainy and distorted blacks.

While i lighted everything up with practicals and tungsten lights i got an incidental meeting at my key light of -2.8 and a half- i opened my lens full at t2.4 but i used a lot of cts gels and some cto on some lights so my blue awfully clipped in the blue shadows... I would like to know at what speed people mostly rate the 320 when the shoot with tungsten. Check out the password protected film on vimeo: password: hb http://vimeo.com/32099398 password hb

While i lighted everything up with practicals and tungsten lights i got an incidental meeting at my key light of -2.8 and a half- i opened my lens full at t2.4 but i used a lot of cts gels and some cto on some lights so my blue awfully clipped in the blue shadows... I would like to know at what speed people mostly rate the 320 when the shoot with tungsten. Check out the password protected film on vimeo: http://vimeo.com/32099398 password: hb

Hey Chris!, I ve been into black and white film shooting in the past, but shooting black and white on s16mm is always something which i dont like. The choise of black and white films is very limited in terms of asa rating, next to that the black and white films are very grainy and less sharp then the color negatives around. I ve been shooting black and white for s8mm for the esthetic qualitys of the grain, but for this film i wanted to have a more stylised and less vintage look. Because I have been doing a lot of colour negative shooting on s16mm, I know exactly how to overexpose the negative to get the right feel of grain and contrast. Because I am doing a lot of color corection myself color for black and white is a very versatile work flow and very intuitive. You can change the contrast in three different colors! Would like to see your shoot on black and white film, and would like to know how you benefit from working with black and white, wheter color and create black and white in post. greets Jeroen

http://vimeo.com/29149507 Hey here's a manifest which i shot for a coming up feature. Its shot on fuji eterna 16t and i think it came really nice out! Any advice for future project would be well appreciated. greets Jeroen http://vimeo.com/29149507