rob spence

try the canon flourite 12-120 zoom...has a macro facility built in and can be massaged into super16 by les bosher (still at 12-120). Great quality for the cost. Cheers Rob

Of course an Eclair acl with 200ft mags is the same size as an Aaton minima for an absolute fraction of the cost. I've already used mine ( super16) for 'stealing ' shots...it's an incredibly useful camera. Cheers Rob

Hi Eventually had a sony pulnix tmc-x ccd colour camera fitted. It has a manual iris and works really well. The only downside is that you can't fit the aaton battery directly onto the camera now...but I think someone will make some sort of extention bracket so that one could be. Cheers Rob Spence

Hi, Yes I'm using the 85mm k35 on super16 aaton ( pl mount) and have to say it's my favourite lens. Rumour has it that aardman animation use the same lens for their stop frame animation films. I'll be looking for more k35 lenses when they crop up...all the best. Rob Spence

Hi, I've been told that x rays can kill fungus...not sure how you would go about doing this . Rob

Hi I've posted this on the 16mm thread aswell. I could do with a video of a test film that illustrates the differences between all of the slow motion speeds...say from 8fps to 150 fps...otherwise I'll probably have to test all my speeds myself. However with all of the combinations of frames per second and the speed of action in front of the camera it could end up being expensive...plus I can't believe that a manufacturer has'nt produced one in the past. Many thanks Rob Spence

Hi, Thanks for letting me look at your showreel. It's difficult to comment on reels that have selected very short scenes...but I think the quality of photography is great. You have some interesting visual ideas that would be even more interesting if the viewer could see a little more and see where the ideas led to ...I guess I'm talking about revealing more of a storyline...after all that's what the moving image is about. What did you shoot on , film? Great images... Rob Spence

Hi Andrew, I've just tried that and it does work ( a small amount of vignetting at the top corners, but not bad ). Unless any one has any better ideas I'll take it to an engineer to re-drill some holes. Many many thanks Rob Spence

Hello everyone, I've managed to get an angenieux orientable viewfinder ( no. 1383 ) for my NPR. The NPR has been super sixteened. This is going to be difficult to explain without you seeing the camera...the framing through the viewfinder is way over to the right ie hopelessly uncentered( and is so in any oriented position ...the image stays upright, so the orienteering works ). I've tried putting it on 'upside down' , that is there are two cutouts in the mounting to the camera...this only puts the image upside down and still uncentered. However if I rotate the viewfinder to the front of the camera and look through ( i.e. the camera is pointing over my shoulder ) the image is upright and properly centered. Does anyone have any experience of this...or am I going to have to walk around shooting over my shoulder from now on !! Yours in hope Rob Spence

I need a lightmeter for super 16 use, with ambient and spot readings...which is best. Many thanks Rob Spence

Hi I have the heavy duty motor...and on mine if you push the small switch forward you get 25 fps and push it towards the rear of the camera you get24 fps. Rob Spence

Thanks k25rip, Unfortunately I've been away...just my luck! But the good news is they're available from www.philiprigby.co.uk in Caterham UK tel 01883 332513. Many thanks Rob Spence

Hi Please send me a price for the filters if you still have them. Thanks Rob Spence

Hi I'll be using my ACL for some undercover shooting of actors in public spaces. I'm using the 200ft mags so the camera can be well hidden under jackets etc., now I've only got 2 of this size mag, and so had the idea of changing spools in daylight. Are 200ft sizes available? many thanks Rob Spence

Hi I'll expand on the question. Critical focussing is where you can optically enlarge a smaller segment of the ground glass in order to focus more accurately. In large format stills photography we use a loupe on the ground glass, this magnifies what you can see and thus aids focussing. 35mm cameras ( film ) utilise a split screen, as seen on pentax, nikon etc. , this similarly aids in fine focussing. I know that the cameflex had a system where a loupe could be used on a ground glass positioned in the gate...this aided critical focussing . My question is whether aaton or both the eclair 16mm cameras ever had a facility to ( temporarily ) magnify the eyepiece ground glass to aid focussing. Thanks Rob Spence

Hi All, Does anyone know of any critical focussing systems for the above cameras , I'm sure someone must have developed one in the past, Many thanks Rob

Hi Keep us informed as soon as you get the film processed! Cheers Rob Spence

Hi The Ronford F7 head was developed especially for the NPR...because of its wierd centre of gravity problems especially when long lenses are fitted. They are now top end equipment and very expensive...you may get a very old one second hand. Look them up on the ronford website. Cheers Rob Spence

jeremy No as this was a test I'm not digitising anything. If you like I'll post you some frames so you can put them under a glass. Post your address as a personal email if you want to go down this route. Cheers Rob

Hi there, Saw my camera and lens tests this morning. Aaton ltr 54 and acl...both rock steady gates...absolutely nothing between the two. Mk1 superspeeds nice and sharp. Canon8-64...sharp and very useful range for s16...very, very nice. Canon flourite 12-120 ...I was shocked at how good a picture you can get from a $300 zoom. Not as sharp as the 8-64 ( obviosly ) but if I hadn't viewed them together I probably wouldn't have noticed. Remember the 8-64 is 40 times more expensive. The moral to me is buy your acl, and your Canon 12-120 and you have no technical excuse not to make a movie...get your script...get your actors...and just do it.

Having said that 'GET CARTER' ( 1971?) was shot on an angenieux 25-250...and many other wonderful, gritty films of the era. It really depends what feel your after...sometimes I think the quality of lenses and stock is so good these days that they run the risk of losing the 'soul' that film can bring to a production. Remember it's the story that counts. Cheers Rob Spence

Hi I have the same lens. I had it converted to S16 and PL mount by les bosher...and it's still 12-120mm! Visually it looks quite sharp and I have just tested it on film ( actually along with my canon 8-64 ) when I get the results this week I'll let you know how it compares. I hoping and expecting the 8-64 will be much better considering the vast price difference, but it will be interesting. It's definately a much better lens than the angenieux though and I'm surprised you don't see more of them around.

Hi Does anyone know if depth of field is the same for 35mm lenses and S16 lenses when used on a S16 camera. I presume they are the same but not 100 per cent sure. Many thanks.

Hi, Anyone know if the aaton 200ft film lengths will actually fit a 200ft eclair acl mag. I've been told that they wont because of a different spooling core design, but I would like to know for sure. Many thanks Rob Spence

Hi Stephen, When was the angenieux last used in anger in movies ? As it is a 35mm lens is the centre section not sharp enough for super 16 use. Thanks.