Patrick ODonnell

Right, that's what I meant, thanks!

Thanks for the info, guys. It looks like I'll go with getting a PL to CA-1 made.

Thanks, I've sent him an email but am trying all sources.

I'm looking for an adapter to be able to mount a PL lens on an Eclair ACL. This could be a PL mount that screws directly into the ACL, but the ACL came with a Cameflex mount, so a PL to Cameflex adapter would also do. So far, I've only seen PL to c-mount adapters offered for sale on the internet, and I'm worried they might not be able to support the weight.

Hi Jeremy, did you sell these?

Hi Heikki - Can you put up a link to the test footage? I am interested in seeing how much the 8mm vignettes. I have an ACL converted to Ultra 16, not Super 16, but I imagine the amount of vignetting is similar. Thanks, Patrick

The Angenieux 10-150mm will vignette on Ultra 16 and Super 16. The 17-68mm will also vignette on U16 (and prob S16), but not at 17mm on U16 and not at the longer focal lengths. The 17-68mms were made from the 50's through the 70's - I have one from the 70's that produces quite good images.

Many thanks for all the responses. Dan, it looks like On8mil just does scanning. Dirk, is it safe to ship undeveloped film by the post in Europe, or by FedEx or DHL?

Are you sure? Because, from what I've read, if a lab isn't set up or used to processing Ultra 16mm, the machinery may scratch or otherwise mishandle the area between the sprockets.

I'm planning on shooting a short film on Ultra 16mm in the Czech Republic in late February, probably about 1200 - 1600 ft. of film altogether. 1) Are there any labs in Europe that process Ultra 16mm? 2) If not, what are the dangers of transporting the exposed but unprocessed film back to the US? Would putting it in a lead-lined bag and asking for it to be hand-checked make a difference? In my past experience, some security people will hand-check film, and others have no idea what it is, nor do they care, and they will insist it go through the x-ray machine. Any insight would be appreciated.

Great, thanks, I'll send you a PM when I find out what my address will be in Berlin. (Sorry for the delay in responding, I thought the site would alert me when someone responded to a posting but I guess it doesn't).

Hi Volker, Are the mags still available, and, if so, how much would shipping be to New York City? And how much would shipping be to Berlin (I'll be there in February for the EFM)? Do the mags need servicing? Thanks, Patrick

BTW, the film arrived from ORWO today, six weeks after I ordered it.

I'm trying to use as few lights as possible, but more light plus some super speed lenses might be the best solution. I did a test recently with a red filter on a sunny day, and while it created more contrast, it did not look like night, but maybe I should try it with less daylight.

Thanks for the explanation about ORWO. I suggested to the ORWO rep that, if they did not have film in stock, the rep should inform customers as to the length of the delay, but he took umbrage at the notion. I will see if I can get my money back. Thanks also for the suggestion about shooting in color. I know they did this for Control and some other recent B&W movies but I was hoping to be able to shoot directly on B&W. However, since it's all going to be edited digitally anyway and a 16mm negative would never be cut, maybe 500T is the way to go.