Heikki Repo

I bet you'd! 😁 Joking aside, fortunately they were not really broken and while not stellar with 16mm film, I have been quite happy using them on my BMPCC (with the less than optimal m4/3 adapter) 😉

In the end I decided it wasn't worth the cost to have those lenses serviced at all. With those prices I could have bought a S16 zoom to replace them! :)

I asked last year Duclos about servicing older Zeiss Arri S-mount lenses and they told me that in general service ranges from $750 - $900 per lens depending on what is required.

Hi Kyle, I have been looking for one as well. In the past there were at least two places one could get one made, see: https://web.archive.org/web/20040125074335/http://members.aol.com/super16acl/quiet.htm Unfortunately the first one is closed due to them retiring and Lee apparently having passed away. The second place didn't respond. If you find a place where to order one please tell :)

Yes, I agree that the best option is to have a tech look at it. Too many variables. Generally speaking I wouldn't use PL mount lenses with a C-mount adapter. Get a TS to PL adapter. C-mount really is not suitable for heavier lenses. TS-mount is the outer ring around C-mount - I'm pretty sure the company meant using it for PL lenses. What mount does your 12-120mm have?

Hi Jack! Which ACL version do you have? Does it have the multispeed motor? Also, what lens mount does it have? The original TS-mount? Or has it been replaced with PL? Did you use some lens adapter? Did you focus using the scale on the lenses or just by eye? Was the ground glass adjusted after the work on the mount - you'd use a prime lens that definitely works, focus it to infinity and then there is a procedure for adjusting the ground glass - can be easily done by the camera user. Those 400ft mag stills however look like an issue with film transport, not lens. How did the camera sound during the shoot?

CPC London offers the option of direct 35mm prints of digital and then scans of it. No idea about the price, but those prints itself are relatively cheap. https://www.instagram.com/p/CPYTljiBQKH/?utm_medium=copy_link

Dear friends, cinematographers, unfortunately Bernie passed away this past Sunday. Julie has asked me to share this obituary with you all: https://www.pucedofuneralhome.com/obit/2021/5/24/bernard-daniel-odoherty?fbclid=IwAR2k3tyuDp0dN0lJTz7WBJ380rQYy1Le9sNeD7lZLiW3iUcguCjrMgc2Tw4

Sorry, I just had to upvote your comment 😇

By the way, could you post the list you received here? I'm keeping a list of Eclair ACL techs here:

I'm not a big fan of violence - I find Tarantino's very graphic depictions, to be frank, quite gross - but despite it I have enjoyed his films. Once Upon A Time in Hollywood was really nice.

If new techs are happening in the area of still photography due to higher demand for cameras ( https://camerarescue.org/school2021/ ), the same is probably going to happen in regards to motion picture film cameras as well. It'll be interesting to see which companies are going to take trainees in first.

I have this Spring submitted two short films to various smaller festivals. The more prestigious, high entry fee festivals I'm going to pass. I'm also skipping most US festivals, they are probably looking for something different and for someone different. My reasons for entering short films to festivals at all: 1) The first film is part of a quadrilogy which, when finished, I already have lots of potential customers for - but not in the traditional broadcasting or entertainment business. When trying to convince those customers, being able to tell that my films have been shown world wide to different audiences and that they have passed some selection process - I think it can be useful. The only festival they'll probably know by name is Cannes, and I'm sure they won't expect my films to have been shown there so... 2) The other film I submitted was just something we did with the family during social distancing. Budget under 100 €. We didn't originally even intend for it to be sent anywhere. But why not? There are festivals for child audiences. Since it's a sci-fi film with kids and for kids, it might even get selected, perhaps even win some award -- as long as it is children doing the selection. Who knows what'll happen, fortunately those festivals don't seem to have high entry fees if they have any. But as you can see, my reasons are probably not good enough for anyone looking to really advance their career. Submitting your film can also become quite expensive. With the way things are nowadays, attending can also be quite expensive -- and your film might still get seen by only a few: https://medium.com/swlh/indie-filmmakers-beware-of-scam-film-festivals-37e702954bdd

Lens mount -wise Eclair ACL is like Eldorado for budget oriented film makers. There are no lenses for the ACL's own mount (TS) - instead, it is a mount for using adapters like TS-PL or TS-Nikon or TS-EF. While those adapters can be expensive, the C-mount allows one to use smaller and lighter lenses like Switars or those C-mount to X adapters. Unfortunately Eclair ACLs are currently rather expensive on Ebay. There are several people looking for them. NPRs are not as expensive, but they are heavier (and sturdier). Those have C-mount and Cameflex mount, but some have replaced the Cameflex mount with PL.

I had the same with ACL. The scratching was pretty much invisible to my eyes, but Bernie suggested modifying the mags - and so I did. But I guess that I would have been happy with how they were. Moving towards bigger projects I like the ease of mind though.