Gregg MacPherson

Forgot to say, though I'm sure others will. Cheaper to find an already converted camera normally. Also, if you have to buy, what about buying/sharing with a group. Or just borrowing one, or befriending a cameraman who owns one, maybe working together on a project.

I wonder what sort of projects you are planning that a Bolex EL is the choice. I loved the wind up bolex for wierd, technically challenging experimental things, but I don't get the attraction of the EL. What about Eclair ACL, Aaton LTR, Arri SR2? Those cameras you can throw on your shoulder to shoot your cine verite, and shoot with sound if you want.

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Hey Joao, Sorry I missed your message before. I haven't shot anything with this zoom yet. The lab here closed after I got it and I don't shoot any digital. My plans are treading water. The lens is very sharp through the viewfinder of the film camera and it hits the focus marks exact. The focus movement is very silky smooth and light. The zoom is smooth but more damped feeling. Most people like that I think. Everyone who uses these zooms speak well of them. They are very sharp but have that nice Cooke look with the skin tones. If you need more photos I can send. Use my email Gregg MacPherson <viz(at)xtra.co.nz> Cheers, Gregg.

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I was just looking at the new Eclair website at https://eclaircameras.wordpress.com/acl-vs-acl-ii/ Where I learned that the ACL I with the original small motor was only suitable for the 200' magazines. I'd like to emphatically refute this. The English 400' mag was designed especially to run on ACL I with the small thomson motor. It has a low current draw, not much different to the 200' mag. The only way that a motor could overload with this mag is if the mag had very old dried out grease with high friction, or some other thing compromised in the total system, including the camera body, giving too much friction. In the 80s I had an ACL I with the small Thomson motor and used 400' English mags, shot maybe over 100 rolls at with it, no problems. The camera and mags were regularly serviced by an experienced guy. Boris Belay is involved with that website. I thought he and Ermut would know this stuff.

Is anyone watching Too Old to Die Young by Nicolas Winding Refn? I'm persevering into episode 2 and feeling quite frustrated. I really admire some of NWR's work, but this feels like Lynch having an epiphany, but hampered by methodone or something. But there is something there I can't put my finger on that draws me on... The psychological/spiritual things being explored, there is an as yet unexpressed explosion of possible forms that could serve, that you feel just may not happen...but hey, it's just the movies, TV or whatever. Actually, I do blame the legacy of Lynch. He was too persuasive.

Rewinding a load on a core, 400' if needed, should be no problem, for the double exposure. Using much the same methods as when breaking down 2000/2400' rolls to 400'. Split spools can be useful. A simple platter that holds the film on one side only is useful. If one is feeling ballsy, one can hold the 400' roll, with ones finger tips, on one rewind spindle and wind it onto the platter on the other rewind spindle. The platter. I made one that was just an aluminium plate screwed to a bobbin that fitted the film core.

In the 80s, any artist who was interested in film might fiddle with a Bolex. Actually, this is a great tradition to explore. Formaly, the visual possibilities are inexhaustible. So, while I hate to agree with Tyler...if you are interested in the escence of moving pictures, the bolex may be useful tool.

Another good thing about ACl is that there are a few mount adapters floating around. They all fit on the camera's TS mount, the flange with the C mount and thread around the outside. There were various mount adapters made, and there are still people who can make them. I have Arri-S, Arri-B, Cameflex, PL. All the mounts are very strong. Actually, I think they are the same mounts, or mount adapters if you will, that the lens projectors have that are used by the lens technicians. Other good things about ACL vis a vis Aaton (LTR/XTR etc), they are a bit smaller. And if you have some 200' mags, a lot smaller. An ACL I is much the same weight as an LTR. Also, the components building the camera are fairly easily interchangeable compared to other cameras. The mounts I mentioned, but also the motors. The motors can be swapped out in the field. The only less than good thing I can say about ACL is that a poorly adjusted mag lock on an ACL i can cause the mag to fall off if it has a bad bump. I jumped off a truck once and the mag fell off. All credit to the mag designers, it was un-damaged. I fit it back on and kept shooting. Later I learned how to adjust the mag lock so that would not happen.

I have an SR3 rod set that I may sell

Sorry, I don't know where that idea came from. Daydreaming about cameras with spinning mirrors I suppose. Not paying attention. Sorry.

Hey Simon, If one can see a black bar half way up the screen while the camera rolls, then the shutter is probably as far away from the worst place as it can be during the exposure. Yes...?

I bought this some time ago but it's not getting used so...it's for sale. I bought it off American operator Chis Squires. He had shortly before that had it collimated at Duclos. Been almost unused since. It's optically very clean and movements are smooth. There are standard proff grade gears on the focus and the zoom. The only less than great thing is that the PL mount is custom made with the flange/wings of stainless steel and the mount body of aluminium. This works fine, but if you want a single piece stainless mount Less Bosher makes them. When I asked he had one in stock for GBP250 incl postage. USD3700 For more pics or any questions send me a personal message. Cheers, Gregg.