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Patricia Dauder

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    Barcelona, Spain

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  1. Yes, I'm looking at it on a computer monitor. The lab sent me a Quicktime Mov file by email Thank you for your reply
  2. thank you Aapo. That sounds logical. I will contact the lab tomorrow. They do the processing and telecine at the same place
  3. Hello, I just received my first camera tests from my new Eclair ACL II converted to S16mm by Les Bosher, and the image is upside down, the floor is up and the ceiling is down. The camera was serviced just recently I'm still getting acquainted with the camera since previously I owned a R16 Beaulieu Could someone tell me what could be the cause for this? Thank you
  4. Hi, I'm looking for a Canon 7-63mm T2.6 or Canon 8-64mm T2.4 for a documentary shot in S16 Preferably in Europe to avoid parcels Thank you, Patricia
  5. I'm looking for: - 200 ft magazine/s for an Eclair ACL compatible with 24/25 fps motor, and 75 fps motor. In good condition - platters with core adaptors for a 400 ft magazine (for Eclair ACL as well) Cheers, Patricia
  6. Thanks for the contact Alexandre. Is always good to know there is someone with a S16. I'm from Barcelona. Will check their instagram . Cheers
  7. Hi Aapo, Thanks for the tip! I'm considering now buying an Eclair ACL. The only lens I got is an Angenieux 12-120 f2.2, from my old Beaulieu R16. It does not cover S16, but it is c-mount. I don't think I could use it in the Eclair, when converted, but I'll try to find S16 lenses. That should not be such a problem I think
  8. Sorry for replying this late... Well, I need to film in S16 for a film project I'm working on, and having dismissed the possibility of renting an ARRI (I'm filming on my own, the ARRI equipment is too heavy for me and I have a small budget ), I started researching about Bolex and lenses. I've owned a Beaulieu R16 and filmed in regular 16 for years, but for this specific project I'd like to film in S16. Having read several articles and different posts in this forum, I concluded that the SBM was the more convenient, (sturdier bayo mount for the zoom, more reliable than the electronic one, EL, with a brighter viewfinder). But the fact is that I realize they are hard to find. Since I live in Spain, I hoped that I could find one in Europe, and avoid high shipping costs from the US (where apparently there is a bigger market) and taxes in spanish customs. I'm also always a bit reluctant to buy on Ebay, because I don't have the technical knowledge to discern if a camera is in good shape or not. That is why I thought that Bolex Factory in Switzerland, was always a reliable option (although a pricey one). But now I realize it's not. After having read your explanation , I'm considering other models like the REX 5, with the turret plate and prime lenses, converted to S16 (13x viewfinder). Hopefully I can find a camera soon... Thank you again Simon. Your explanation has helped me quite a lot
  9. Thank you Simon All best, Patricia
  10. Hi, I’m trying to contact Bolex Factory in Yverdon to buy a Bolex SBM S16. I sent two emails and called twice and I got no answer. Does anybody living in or close to Switzerland know if they stopped working? I know their website is under construction so I contacted them through the address they are providing, but it’s not working Thanks in advance, Patricia Dauder
  11. Hi Simon, THanks. I´ve always used Eikis and this is the brand that I see in most museums and film installations at art venues. We are trying on this occasion the eiki slim line 16mm projector, and the silver blue eiki, I think it´s the RST. Problem stays the same for both. I´ve been projecting many films with loop systems on this machine and I never experienced such a thing, neither the projectionist from the museum I´m working with. These two machines were recently projecting several films in an exhibition by a famous ducth filmmaker in an exhibition that finished last October, with the same loop systems and all worked fine for three months. I will pass though the information about waxing the film on the edges to the projectionist to see what he thinks. I´m not totally sure but I think that the film is polyester base and the tape is pressure tape, but I´ll check that tomorrow as well. Many thanks
  12. Hi Dirk, I´ve used three different loop systems, the one on the picture, very similar to the loops made buy RFS Inc. in Canada, an original one made by RFS, and then one from Studio2M in Amsterdam, and the film reacted the same way with the three of them. Each of those loops independently have worked perfectly fine with other films, so, of course I cannot be totally sure, but I would say the problem is on the film and not the loop system. We will try tomorrow to increase or release tension in the film, but I don´t know if that will do it.
  13. Hi, I´m projecting a 16mm film print that has both color and black and white stock spliced together with tape splices in a loop system for an exhibition at a museum. I´ve projected this film once and now I´m trying to project it again, with a brand new copy and I´m always having the same problem. The projection copy, coming new from the lab is set in the loop system. Once I turn the projector on, the film starts bending in a strange way, (see picture attached) does not circulate in the right way in the loop system until it gets out of the loop circuit after some seconds or minures and it finally causes a jam, having to stop the projector inmediately. The first time that this happened, the lab that processed the film told me that it is a well-known problem among filmakers that Kodak stock sometimes reacts in such a way, specially under humid conditions and that it is better to use Fuji stock. But this time I ordered Fuji stock and the problem stays the same. The projectionist at the musem thinks this might be caused because the print is made out of two different stocks, black and white and color, and that they are reacting differently. The solution the lab is only offering to me is to digitally scan the whole film and have it print on color stock. But this is way too exensive. The other solution is to have a new copy made on color stock and try to make the black and white parts on a tonality similar to black and white, such as sepia, but this does not sound so good to me. Has anyone experienced or heard about such a problem before? Thanks, Patricia
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