Patricia Dauder

Hi Robert, Sorry I'm replying this late. Before, when someone replied to a post of mine in Cinematography I got an email, but it seems is not like this anymore and since there were no replies I did not check for quite a while. Many thanks for all the information. It is very useful. My projector is an EIKI SSL2. I actually got two gates modified, that I bought separately. The first modification was done by a technician in Spain (not MICRODELTA, I also wrote them but they could not do it), but the cut was very imprecise. The picture area was not straight, (the frame was quite curved on the upper right corner) when projected and I therefore the gate and modification was useless. After that I tried Les Bosher since he modified my Eclair ACL but he did not reply to my email this time. Hope he's fine Luckily a man in London read my post on another forum, and offered to do the job. The cut on the second film gate was far more precise but now that I read your email, maybe I have to check to find out if there has to be done some recentering of the image. Will work on it on the following days Thanks a lot Robert

That's true. Resolve is not running on my Mac os High Sierra 10.13.6. So I need to update the system. Thanks Marc!

Thanks a lot Dirk for the advice. Did not heard about this training but I'll check the website. And as soon as get Resolve installed in my computer (by next week) I will start spending time on it. Groetjes!

Thanks both! I'll definetely go for Resolve. I had the doubt wether it was a program only for color grading but I see It's the best choice for editing.

Hi, I'm looking for a book/guide/pdf file, up to date with postproduction technology, I can read to get acquainted with postpo workflow nowadays. I make 16/S16mm films (indie -very low budgets) every now and then and would like to know the process well to get the best results when working with editors and labs, specially when it comes to digital transfers, scanning, etc. Years ago I bought Film Technology in Post Production by Dominic Case. Great book. It helped me to understand how things work in the lab but I guess it's a bit out of date now Any recommendation? I'm also trying to find out which editing program I can start working with that is not too complicated for a beginner . The editor I work with usually recommended me Da Vinci Resolve (I had been working with Final Cut up to now) because I need to work a bit on the editing before I start the final edition with him (won't do any color grading myself,) Thanks!

Thanks for the tips. They've been very valuable to me I realize that exposure is quite a thing. I've used film for some time but not that regularly and now I want to learn more about exposure and lighting. I'm trying to implement Ansel Adams Zone System process to film tests I'm doing. Will keep on practicing Thanks both!

Thanks for the explanation Duncan. I use first a Sekonic meter L-478D, measuring both incident and reflected light, to get the right exposure and set the camera meter accordingly. But since I can never get the center LED lit alone in my ACL because the next LED after the center one, below, (- 0,5 f) is always lit, no matter which aperture I'm using , that makes me think the LED7 meter is not working. In that case, I guess I can only trust the Sekonic readings and forget about the ACL light meter calibration. Correct? Thanks again

Thanks Mark. Will test different exposures to see if I can find a way to figure out the inner meter failure

Hi all, I'm trying to calibrate my ACL II, LED7 built in light meter, following the procedure described here: https://eclaircameras.wordpress.com/acl-meter-calibration/ I follow all 6 steps but when I rotate all the way the potentiometer knob to set the proper exposure, I never only get the central diode (zero) lit, the -0,5 stop diode is always lit , regardless of the rotation. Does that mean that the light meter is not working? I'm trying to calibrate my Sekonic reflected meter to the ACL meter, to get proper exposure and be able to decide about sub/overexposure for creative reasons Thanks, Patricia

Hello, I've been reading in a post from 2009, that Bernie O'Doherty could widen the film gate of 16mm projectors to S16mm. I wonder if nowadays, there is someone /company who can do this service, carefully. Any info, will be much appreciated Thank you very much Patricia

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

thank you Aapo. That sounds logical. I will contact the lab tomorrow. They do the processing and telecine at the same place

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

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

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

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

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

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

Thank you Simon All best, Patricia

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

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

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.

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