Alec Eagon

https://www.ebay.com/itm/284100888591 *** Zeiss Superspeed MKI Distagon Kit: 1 - Zeiss Superspeed MKI 9.5mm T1.3 1 - Zeiss Superspeed MKI 12mm T1.3 1 - Zeiss Superspeed MKI 16mm T1.3 1 - Zeiss Superspeed MKI 25mm T1.3* + TOP OF THE LINE Polar Pro Defender lens caps for each. (These are the "Rolls-Royces of lens caps"—nothing comes even close to keeping your lenses more safe and secure). *Please note that the 25mm lens has light scuffing that culminates in the center of the front element (see pictures 10 and 11). The lens was this way (and not even noted as such by a reputable dealer) when we purchased the kit ten years ago. We've been shooting with these lenses constantly on our Aaton XTR Prod, for a decade, on every available film stock, and never seen a single artifact whatsoever result from it. These lenses have been frequently taken to lens legend, Charles Pickel, at Serious Gear Co. in Seattle for regular servicing. The focus and aperture rings feel PERFECT. We have gotten phenomenal results from these for many years, but it is finally time to let them go. Looking to sell to somebody who will continue to take great care of them (regular servicing, etc). If you have any questions, please do not hesitate to message me! -A

Just sent you a message! Thanks! -Alec

Is this package (particularly the camera) still for sale?

Sorry guys. I'm a newbie here. Couldn't figure out for the life of me how to embed a video. I don't have the buttons for posting media for some reason. I also don't have a delete button, otherwise I would've deleted the failed post above. I am quite confused...

<iframe src="https://player.vimeo.com/video/258354917"width="640" height="360" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> Tyler Burns - "Knock On Wood/Frankenthaler" Shot this 9.5 minute double music video/short film on Kodak 16mm MPF (50D, 250D, 500T) with an Aaton XTR Prod and Zeiss Primes MKI over the course of almost 3 years in Oregon. Development by Fotokem (Burbank, CA) Telecine by Lightpress (Seattle, WA) Love to hear what y'all think. http://aleceagon.com http://instagram.com/aleceagon

Hi there, Is this an A-Cam dii? Is it still for sale? Would you consider selling just the body? If so, I'd be very interested. Thank you, -Alec

Hey Everyone, My brother and I are aspiring photographers/"filmmakers" doing everything we can to shoot our projects in the style of classic cinema. We had the privilege of shooting this music video for the Portland band "Charbonneau" on Kodak 250D 16mm stock with the Aaton XTR Prod and a Zeiss MK I S16 lens set. We spent almost two months doing principle 35mm still photography around some interesting parts of the city. We hoped that the principle would lend itself to a "photographic" style in the video. We'd love to hear some hard critiques if you have them. Don't hold back, this is how we will learn! http://vimeo.com/38742004

Hey everyone, I'm fortunate to currently own an immaculate set of set of 4 Zeiss MKI prims (9.5, 12, 16, 25mm). For my next project however, I will be doing mostly static portraits so I am in the market either for super-16 telephoto primes (ballpark 50-100mm) or a zoom lens. I have hunted high and low and it has been rather difficult to find any S16 telephoto primes in the upper tier (Zeiss, Schiender, Cooke) that are fore sale individually. I am really hoping to spend no more than 5000. In this range... *Would it by advantageous for me to be in market for a zoom lens instead of further primes at this point (so as to cover a wider range, to have the other capabilities of a zoom, and because they seem to be more readily available)?....I may be wrong but there seem to be more top tier brands of S16 PL Mount zooms (Canon, etc). **Also, if anyone has any resources for dealers that might have S16 zooms or telephoto primes in stock I would really appreciate it. A lot of the dealers of this stuff seem to be very difficult to find on google sometimes. Thanks! -Alec

Okay very good to hear. I'm hoping. Thanks a lot Tim.

Hey everyone, Kind of freaking out here. I was in a huge hurry yesterday (stupid) and took some exposed film out of the freezer (shot over the last week) and took each can out of its double zip lock bag and pack them in bubble wrapping in a Fedex box. I noticed that condensation built up on the outside of each of the four canisters (obviously since they hadn't acclimated to room temp in the bags). Now each exposed roll was in a black plastic bag inside its canister, each of which was sealed around the edge with electrical tape---I am hoping that that kept any condensation from entering the canister but I am not sure about that. Am I totally screwed? Should I not be surprised if I have condensation damage or am I just freaking out? Thanks a lot. -Alec

Hey everyone, Kind of freaking out here. I was in a huge hurry yesterday (stupid) and took some exposed film out of the freezer (shot over the last week) and took each can out of its double zip lock bag and pack them in bubble wrapping in a Fedex box. I noticed that condensation built up on the outside of each of the four canisters (obviously since they hadn't acclimated to room temp in the bags). Now each exposed roll was in a black plastic bag inside its canister, each of which was sealed around the edge with electrical tape---I am hoping that that kept any condensation from entering the canister but I am not sure about that. Am I totally screwed? Should I not be surprised if I have condensation damage or am I just freaking out? Thanks a lot. -Alec

ya that will be important for sure. thanks

Hey Everyone, I am shooting a super 16mm project on Kodak Black and White Double-X 7222 stock. I just ordered a set of 4x4 polyester color filters for my mattebox so I could play with contrast and what not (http://www.bhphotovideo.com/c/product/162548-REG/LEE_Filters_GSBW_4x4_Black_White.html). Questions: 1. Is there reason why polyester filters as opposed to glass would not be optimal for shooting on motion picture film? 2. Anything I should be aware of/other cautionary tips on shooting B&W with color filters? Thanks! -Alec

Hey Everyone, I am shooting a super 16mm project on Kodak Black and White Double-X 7222 stock. I just ordered a set of 4x4 polyester color filters for my mattebox so I could play with contrast and what not (http://www.bhphotovideo.com/c/product/162548-REG/LEE_Filters_GSBW_4x4_Black_White.html). Questions: 1. Is there reason why polyester filters as opposed to glass would not be optimal for shooting on motion picture film? 2. Anything I should be aware of/other cautionary tips on shooting B&W with color filters? Thanks! -Alec

Hey everyone, UPDATE: So I just tested it on a well kept S8mm projector and the bouncing is native on the film... Couple of questions: - Does this discovery point toward a "film claw/pick up" issue? - Anyone know a good place to have a Nizo 801 Macro serviced or looked at (preferably west coast USA)? Thanks! -alec

Yes to it being fixable (even right now before I've had the option to test the film myself). I did a test with Lock & Load X Frames plugin for FCP and it fixed it in a jiff (much better than expected too). It's a handy little plugin, worth whatever I paid for it. ...Actually, now that I am thinking about it, the relative ease with which Lock&Load fixed it is making me really wonder about the scan...

Good to know about the thicker emulsion. I'll definitely remember to bang the carts a bit. having said that, have you ever encountered anything as drastic as my issue though?

Hmmm....ya I will look into getting it serviced after I rule out a Telecine error. thanks J

Interesting. I am pretty confident that this is not the case, but it will be worth a try to rule it out on when I get the film reels back this weekend....

Hey Everyone, Just shot some S8 Ektachrome 100D on my "mint" (or so I thought) Nizo 801 and about half of the results turned out like this: (Password: "unstable") http://vimeo.com/27600538 Any ideas about what caused that, film, camera, gate, etc... (it seemed to occur both at high speed and at 24fps)??? Thanks a lot! -Alec

hey thanks a ton for the quick response. that eased definitely eased my fears a bit. ya in terms of "clean" I am more referring to fog and color corruption than grain. The grainy 500t is what I am going for with this project...gonna be in a ton of mixed light scenarios, so the rougher look will be fine. Thanks again! -Al

Hey everyone Really quick question. Ordered a 400ft spool of 7219 from Kodak 16mm, somebody in our house left the front door open and when UPS came my dog was going crazy, so they left the package on the front lawn and I didn't discover it until roughly 5 hours later. It got up to 75-80 or so oustide, and when I pulled the canister out of the package it was *very warm*. I acclimated it to room temp and now I have put it in a dark cooler room. I am planning on refrigerating it at about 50 tonight. I was planning on using this fresh role for a really clean test reel. I know that drastic changes in temp can be bad....anything I should be worried about?...or am I freaking out here. Thanks! -Alec

Vincent, Hey yea I was looking at 200T 7213 earlier this week...don't know why I completely forgot about it prior to posting. How did it do at night/under only practicals? Did you use any filters for the daylight mixed stuff? Thanks! -Al

Hey all, Looking for some stock & lighting suggestions. I am shooting a Super 16mm short doc mostly in this space: As you can see from the pic on the studio homepage --during the day -- it will be mixed daylight and...what look like small cone halogen practicals during the day, and then --at night-- only cone halogen lighting). Gelling might be a possibility...I figure if the producer is as excited as he sounds for me to be there it might be an option, however, I'd like to avoid this (to maintain a "ghostly" presence throughout) ...that is, if great exposures and colors can be achieved w/o. Right now I am planning on going out to the studio early next week to run tests on: Kodak 250D [i've heard overexposing this under the given scenario might work well...?] Kodak 500T [The "workhorse" of mixed lighting and run-n-gun...planning on testing w/ 85 & w/o...Barry Lyndon style] Fuji 500D [This is at the recommendation of a friend---the theory being that the 4th layer on the film can capture more info under the hot practicals/high contrast (thus resulting in more control in DI coloring)...?] Also last night, I took some digital stills at a friend's house under some very similar small cone halogens (at night) with the camera on Tungsten & Daylight settings...the Daylight pic was WAY TOO HOT, and the Tungsten was also pretty warm, however the colors looked much better... Bottomline: It would be really nice to use one stock for both day and night if at all possible. Any suggestions or ideas would be most appreciated! Thanks all! -Alec

Geewiz! Thanks everyone for all the info. I actually had an A-Minima body online today for about half of the price of the one I listed above....almost went for it till I read the posts here (and also when I got real with myself and realized how much time and money it will take to track down a decent matte box ($1-2000) and extra magazines ($1800 each --ouch!!). I only have 3 weeks. Conclusion: A-Minima will likely be way more money than it appears in the long run. Though the AATONCode is really really really tempting, if I am honest with myself, it is only that, and the airs of owning a current industry standard camera, that are keeping me with the A-Minima. I actually really like how solid and robust the A-Minima is as well, but I guess its size (thought a luxury in travel) may not be in shooting. Even though this doc is very very simple, I do want to capture genuine moments in their entirety, and a 400ft spool seems like it will allow me more opportunities to do that. Based on the fact that almost none of you guys mentioned anything about cost in your critiques of the A-Minima, but rather about functionality, the Eclair Package seems altogether much much more practical. Thanks again a ton to everyone!!! -Alec