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Heikki Repo

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Everything posted by Heikki Repo

  1. Call him, you'll get hold of him that way - don't send an email 🙂 But he's busy, better prepare for that - he did an ACL S16 modification for me recently - my camera was at his place for about seven months before he had time to work on it. Then the actual work took only two weeks. By the way, what kind of "eye mount" change are you planning?
  2. As long as it's 12V no worries. The 7A is actually 7Ah, the capacity. It also means that it should be able to supply higher amount of amps if the cameras needs it, for example when shooting 75 fps. Sealed lead acid works great for high speed, though it's also rather heavy... remember to charge the battery in a ventilated area. Now, the only question I'd ask is how old is the battery? Is it still good?
  3. Helsinki Airport in Finland has them too. But I have asked the staff about film issues and they have said that manual checking of film is offered when asked for.
  4. Just make sure they don't use new CT scanners for hand luggage at the airport. That'll damage even low speed film.
  5. Would be really interesting to see some real world tests made with these lenses :)
  6. Looking at the title of the thread - if you want fast lenses, for T1.3 you'd really need to go for Arri Bayonet and either Zeiss super speeds or Optar Illumina. If around T2/2.2 is good enough, there are options in Arriflex Standard too, Cooke Kinetal and Zeiss. C-mount Switars are around f1.4, f1.7
  7. Has your NPR mounts been modified along with conversion to S16? If not, it should have C-mount and Cameflex mount built in. I think it's possible to find an adapter Arriflex S to Cameflex, but there are also many C-mount adapters available for different mounts. You might want to look for Kern Switar (non-RX!) lenses. They are quite nice C-mount lenses, though using filters or a matte box or follow focus with them is at the very least difficult, if not outright impossible. However, if you are mainly looking for shallow depth of field and tele lenses, how about Contax/Yashica to C-mount adapter and Zeiss lenses? Something like 50mm f1.7 is very cheap and Zeiss sharp. Only wider end is lacking and expensive since those are for 35mm SLR.
  8. Larger image circle may cause flares due to light bouncing around within the camera. Bigger issue is, however, that a (consumer) lens made for full frame might not be as sharp as a lens made specifically for S16.
  9. That aperture plate doesn't resemble the one from Les, but apparently the ground glass is as, ahem, sophisticated (I asked the seller about it).
  10. It's surprisingly good! I have used a lot the second iteration (black, a bit less cheap feeling) of that side grip and it works well.
  11. Furthermore: In the end, is it possible to make a feature film with a 100ft load 16mm MOS camera? Yes. Is it going to be easy and fun? Probably not. Most wouldn't even try it, but some have done it. Could you compete with such feature film with Hollywood high end blockbusters? Most likely not, but even if you had Arriflex 416 you would have hard time so there's that. In the end what really matters is how you use your tools. Doing some things is much easier with more expensive tools but everyone has to find the sweet spot of how much you can spend and what ease of use you can buy. And after that, the rest rests on your talent and will.
  12. I think Tyler generalizes one point of view to everyone which just doesn't work. Do you work on high end commercial productions and have a good access to rental companies? Rent, rent, rent. Why would you want to worry about technical side of the cameras? Get the best there is, get the work done. Do you work as a DP on high end documentaries that often shoot on film with a real budget? Buy that Aaton XTR, it's a tool that pays your bills and owning an expensive piece of equipment that gets taken to road perhaps for months is justified. You are an artist that makes art installations? That Bolex is probably going to serve you well for all weird ideas you are going to get. Do you make a bit lower budget commercials on digital but would want to shoot more on film? Buy some cheap Arriflex 16ST and get some quick film shots (paid from your own pocket) on the first cut and see if your client likes them You want to shoot short narrative or documentary films, but you don't have the option of renting (companies too far away or you can't justify the rental prices with the way you work) nor does your film work pay your bills to such extent that it would be justified to buy a more expensive camera? Now we are talking. Eclair ACL or NPR, CP16R, Kinor. These cameras can be quiet enough for sync sound work, they are relatively cheap to own and lenses don't cost that much. They can give you professional results. You can get a video tap for Eclairs if you need one. I'm in this league. I'm happy with my ACL and the results I can get with it. One screen cap from my latest shoot, on Kodak Vision3 250D, Eclair ACL and Optar Illumina 25mm
  13. Older ones: Arriflex 16BL, Auricon. Newer and expensive: Aaton LTR, XTR
  14. I take it from your posts that you shoot either black and white or color reversal, right? If you were shooting color negative, having a 16mm camera with 400ft loads would definitely be the cheapest option €/mtr currently (though you'd also have to calculate the price of the new camera there...) As it is, the cheapest way to shoot on film is Fomapan on either 2x8mm or DS-8 or DS-8 split and loaded on reloadable S-8 cartridges - and then processing it all yourself. If you like the small gauge of 8mm, the economical side of Fomapan and self processing, maybe look at the 2x8mm or DS-8 cameras with 30 meters loads. At least those Bolex cameras are likely to get service in the future too. The downside is of course that they aren't quiet cameras, but I don't think any 8mm camera is...
  15. What SN is on the camera that has the pins incorrectly? The pulldown claw and the pins are very much hardwired together. During servicing one might have to finetune the shutter with the pulldown and then the mirror with the shutter, but touching the pulldown claw? I'm not entirely sure if it's even physically possible to get the setting you have if the pieces are the same version as they are in the later models. The claw control shaft is part of the claw control spindle assembly one doesn't normally take apart during servicing. And as it rotates, the claw assembly moves up and down. It's very simple design. So I wonder: is that an early ACL, where it has been so perhaps from the factory? If it was built before the mid-size base and mirror parking it would make sense.
  16. Hi Philip, They are occasionally available. Just within a week or two two adapters were sold on Ebay: one Cameflex and one Arri-S. Within the same timeframe also a Nikon adapter was sold on Facebook Eclair group. So, they are available, but you might need to check Ebay daily. ACL items tend to move fast :) Arri-B adapters seem to be more rare and PL-mount -- well, better just buy one from Les. Aaton adapter I'm not sure if I have even seen before, online or IRL...
  17. I deal quite a lot with RAID arrays. However, the first and most important thing to understand is that RAID itself should never be considered to be a backup solution - instead it helps you avoid having to restore data from a backup if some member of the array fails. Depending on the array and RAID level used, the number of failures is different. Some RAID levels also give higher performance. The RAID arrays I have worked with have been either volumes for working or for backup. So, what is your plan exactly? Are you thinking of buying a RAID-1 for a working volume or for a backup volume? Both are possible, but as I mentioned above, you should never think that if your working volume is a RAID volume you already have a backup. Always try to have three copies of the data: working volume, backup volume, off-site volume. Having also one of the backups offline (eg. LTO-tape) helps you avoid data loss if you get malware that encrypts or corrupts your data silently. Your BD-R backups seem to fit this purpose quite well. Now then, I think RAID is very secure and good technology. Just make sure to buy from a reputable manufacturer. I think the smaller external RAID units made by G-RAIDs have been well liked in the past. I can't really recommend any brand myself, since I usually work with larger external arrays (12 or more HDDs) and smaller internal arrays.
  18. Thanks Dom and Gregg! They reason I am asking is that I already own a very similar Sachtler head, the only difference being it doesn't have any name on it, only the Sachtler logo. I got it from a cinematographer who tells me it's from the (early) 1980s and is intended to be also used with 35mm cameras (with the space for the motor below the camera), alas, he couldn't tell other details. It's working well, but I'd still love to find official specs 😄
  19. Does anyone have any idea what might be the specs for this older Sachtler 150mm fluid head and when was it made? There's one currently on Ebay with good photos, but it seems there is nothing online on these fluid heads: https://www.ebay.com/itm/334438085263?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=4ZDXwJ8dQt6&sssrc=2349624&ssuid=C7ngzI_zR6q&var=&widget_ver=artemis&media=COPY
  20. Thanks for the offer Yani, I got it already! I should have posted here :)
  21. On Instagram Shtrihfilm seems to be now a vocal supporter of Russian invasion, Z's and all...
  22. Sure, I can see those. And as you say, one has to look for it, it isn't really distracting at all in my opinion. But then again, if you are going to shoot 400T after having kept that in the freezer for 7-9 years, your expectations must not be that high to begin with 😉 which is exactly why I don't pixel.. err... grain peep my Fuji scans. If I want something pristine (and have the budget for that), fresh film it is.
  23. Back in 2013 I bought about 12 x 400ft Fuji (Eterna 64D, 250D, Vivid 250D, 400T). During the years I stored all of it in the freezer and took out of freezer only when I was about to shoot something. I really haven't seen any issues. I'll probably shoot the last roll, 64D, this summer.
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