Martin Yernazian

Sorry Tim.... I didn't meant that you vouch for the guy, I was pointing out that your where the previous owner and if the guy truly didn't use the camera ( as he mentions in his post) then the camera should be in the condition that you sold it for, BUt that's just assuming that the guy didn't screw up in any way.... which If I was going to buy that camera or any, I will tell the guy to send it to a serviced tech and get an estimate of how much it will be to serviced that cam... if everything is good then it shouldn't be a problem...

this is the first time, that I actually see a real picture of the camera.... at last! I never understood the hyped through a 3d modeling picture... well it will be fun to played with once is out!

the first time I saw the camera I was like AAAAAAAAAAAAAAAAAAAAA but little by little I started to played with it and I had fun .... is not an Sr or an Aaton.... jeee is not even an NPR.... it has it's own style... you have to definatly have it serviced if you want it running nice and clean....

F*ck yeah.... and then it gets here and is made out of cardboard and the mount is a mix of a can and couple of wires hehehe this is what the seller of the Aaton had to say about his camera It is a really nice camera. I should caution you it is worn- looking, as I have not painted it. Serial on the camera is C346. Magazines are M861 and 858. The lens No. is 6223995. Registration is very good, very steady. It's steadier than the telecine we have used. The uneveness in the frame is at the top AND bottom, but is clear of the 16x9 frame. The batteries need re-celling. We have used a Bauer 14v battery which provides better power than the Aaton cells for time lapse. The lens does not cover the Super16 frame at its widest: 10mm. We rented wide primes for wide shots. The viewfinder prism may need adjustment. The mags are quiet and work well. Note that the package inclues an outboard speed control and intervalometer, which was made by the same dp/inventor who converted the camera. I purchased the camera package used in December 1996. aaaaa helll noooooooooo

Hey Charlie como estas? te lo voy aresponder en ingles asi estos manes nos entienden! I'm to on the market for a Super 16.... to what it's seems is that you saw 2 offers that I consider before The NPR was my first choice ( variable shutter) but later I learn that the shutter was pretty temperamental, the other one, The Sr 1 If it's the same one, the previous owner before the seller was Tim Carroll, and Tim knows his poop around teh cam, he took care ov it.... and then sold it to a guy that just played around with it and he just tougt the investment wasn't going to pay back so I bet he's selling it for taht reason.... I'm myself on the market for an Aaton LTR Super 16..... if you can find a good one you'll be great.... Anyhow Mucha suerte

Ot's ok.. sorry if I came a little harsh, I know you didn't mean anything wrong my apoligies to and thanks for the advice Best

Actually the Edirol has an amazing audio quality, my friend recorded an album of nature, he discover that trees around a river could transduce the sound of the river itself.... he is getting it done and realse through a major level... trust me if I choose the Edirol for a reason, if not I wouldn't bodered to post anything here The main thing is that I want it to know 24fps= 48k? or it 60k? Best

I been using an edirol R-4 http://www.edirol.com/index.php?option=com...&Itemid=390 and I want to make sure that it will be ok, to sync later to my Super 16 24fps camera ( yes yes is crystal sync) I have knowledge on sound but not as much on the speed of that I need to have with film to transfer later on and do teh sync I hope this makes sense.... Best

yeap ....

hey what you guys think of this one ? http://cgi.ebay.com/Aaton-LTR-7-Super-16-M...1QQcmdZViewItem

I still need to see that Film, they todld me is stupid but well is good for the eye education, just saw the Motorcicle diaries... you know it has a great feel of 35 to it .

Yeah it looks like a film camera but naaaaa it's a Panasonic Varicam ( free rental I have to say) great camera.... I think I'm going for an Aaton LTR.... but I have to see what's the best out there Thanks Dennis

FOR 7 GRAND?????? NAAAAAAAAAAAAA

Yeap is in Working order ready to go! is sync to it looks like a great cam and the Alcan motor makes it much smaller... also the owner cut the turret in to diferent parts so he cam is actually much smaller

Just Spinal tap yestarday.... Super 16... and really funny Also I found out about this film called Bolivia (2001) and I want to see it asap the shoot it with an Eclair Acl.... 2:1 shooting ratio, and the movie did really well

Hello Gents, my quest for my new s16 cam is coming to an end. I have a great offer from a guy selling a modified NPR for 6500 the package includes Lens Angenieux 12-240mm 1 2 Lens 5.9mm #06433-7075-121001 w/ gears for uw use + 85 and UR pro filters, C-mount. 1 3 S-16mm Eclair camera #10162 w/ Alcan motor. 1 4 Kinoptic viewfinders w/eye piece (one is orientable) 2 5 Eclair film magazines 2 6 Lens mounts C or Eclair or Nikon, all fit super16 or 16mm. 3 7 Underwater Film Camera Housing!!!! 8 Lens dome port for 5.9mm, 9mm, 5.7mm replacement glass coated acrylic domes. 2 9 Flat ports for 9.5-57mm, 15-150mm, 5.9mm, 55mm Nikor. 4 10 Gears and index rings for each lens. 1 Box 11 Spare Parts Kit 12 Sekonic Light meter No901950 But even do I checked this cam....( the wide 5.9 is great) , my heart cannot decided.... I love Aatons they are great... but the biggest feature that I love about the NPR ( the variable shutter) they don't have it, also I know that they aren't cheap on the times of fixing them... while NPR has become more of a frankestien for anybody that has them and you can modified them a lot. I want a cam mostly to do features or my next one, I always want it to have a film cam to own and create a nice filmming kit ( instead of renting) Waiting on our feedback Thanks guys you help me pick and study the 16 frmat much better ( it was long while since I used it) Best Regards

MY dinner with Andre was shot on 16, just so it last night and I was really impresed! Great film! Keep Posting my friends! ( Finishing my collection soon)

HEHEHEHEH! That will be probably me!.... not really but I would it do the same

Great replies guys! Thanks so much! Now how many of you have shot SUper 16? any samples? Thanks Best

Yes, Woodstock was shot with Eclairs NPR"S ------------------------------------------------- I check Imdb for bully and says that it was done on 35mm I wonder where did you hear that it was done on 35? I'm curious Thanks

you guys forgot The BEliver! if anybody seen this movie is really good also in 16 Native of New York This film will leave you speachless, is shot with a 1924 Kodak cam and is great Woodstock a classic shot with an army of npr's

My great gentelmen, don't feel offended or touchy about the way I wrote my reply, first I didn't mean to be rude, if it came that way.... The magic word will be I'm sorry, and I'm Second, English is not my first tongue( ugly excuse I know) if the angle of the question didn't seem technical, welll then is my mistake also, it was a technical question about how I can replace the Anamorphic adapter with just the cam squezze? and alos trying to find out how much res was going to be loss Anyway, to get jumpy my dear cinema companions, I meant no disrespect what so ever Best

BOOOOOOOO come on!!! :P :D :ph34r:

Off course I'm going to 16:9 that why we are shooting like that second the answer to this question is a technical answer please respond if you have the actual knowledge, second the idea of the people in Africa or Asia to buy an anamorphic adapter or an HVX is imposible so please just answer my question what is the loos of quality with the squezze mode in the dvx, if the plan is to go 16:9 Thanks

I have a couple of projects that I'm oganizing some of them is are in poor countries in Africa and Asia, the directors that I found they don't have the anamorphic adapter for the cam, so my question is how bad is the squezze mode? Best