Carl Nenzen Loven

Seems like if I stock up on Jaeger connectors I would be better off. Not I just want my ACL to get some hours of shooting. C

How much work would it be to replace the Jaeger on the body to a XLR? Since i know people have done it. C

quoting just to get you into the conversation :)

My operator just bought his sled, so he either do 4 pin lemo, or D-tap from V-mount batteries. But same solution can run both the SR3, the 416, and the Arricam LT. C

Hi everyone, I want to wake up this thread again since I am trying to make my Eclair and option for the people I work with. We usually have access to 416's, and SR3's, but the old guys in the business that I spoke to, says that the ACL should be able to play with the big boys any day of the week. Now to my point, I am currently running mine on 2 Ni-Mh converted batteries, and it works pretty well if I may say so. But they do then to drain very easily, and not ideal to be used on steadicam. My operator I usually work with, have a guy that makes him cables for ANYTHING, as long as he knows how to order it. And he runs both 24 and 12 volt cameras off V-mount batteries on his sled. The question I have is this. My Eclair 1.5 uses the Jaeger contact, is it possible to make it work with a V-mount setup to run the camera smoothly? C

Well Gregg, sadly I have no expert metal workers I know close to me :) Also, that style is what I want, for the idea I have is to make mine have a video tap, and the need a space to attach the monitor. C

Could you maybe send me a link? I was going to have one of these custom made to fit the lock in mechanism C

Thanks Josh, I saw that as well. But when “making” a new from a good metal worker cost 200, including shipping, and Les Bosher charges 100 for a new. I find 150 for a used one a bit of a rip off (which I told the seller actually). C

Hi there, I have this upcoming short I am doing the cinematography for. Most of the story is based in a café and HAS to take place during the day ( according to the director). Problem is the café is not available except after hours at night. Now the exteriors can be done as pickups to establish the scene, but it is keeping the daylight consistent where I am a bit nervous. My first idea was to rig a 8x8 or 12x12 silk with a 1.2 Arrisun shooting through it. I also thought about bouncing the HMI using the silk yet again. Then I can use my remaining lights for details, and be able to keep “daylight” consistent. Any thoughts? The cafe has one VERY big window at the entry so shooting that way is out of the option really. Happy for any input. C

Of course, sorry, http://www.iscanmanuals.com/ebay/opticxchange/cameratique%20204.jpg C

Hi there, Finally I have had my ACL serviced by the best, Mr Bernie O'Doherty, and finally I can use it to shoot something serious. But to be serious, you need to have the complete set. And right now I am look for some accessories for the camera. First off is the top handle. I do know that Les Bosher sells one, but me and him do not seem eye to eye, so that is not an option. Second I am looking for is a new rubber cup for my viewfinder, the one I had just broke and I need something to replace it. if you know of any other accessories that might be necessary and you want to off-load, please reach out //C

Hi there, The rubber cup for my viewfinder that I use on my eclair ACL just broke. I have tried buying stuff off amazon to replace it, but nothing really fits, and I don't want to buy another viewfinder just to get the cup. //C

I am considering this right now, I will scout for parts in february to see what I can do. C

Anyone selling an broken viewfinder for future experiments? I have the camera now but I need to focus the image for the digital sensor.

Thanks for such a complete post Gregg. I just learnt how to load the Arriflex BL-series, and the 35 III, and the loops there are essential when it comes to running silent. Now I know my ACL is in need of a CLA, but I wonder how much that can “fix” in this scenario, and what is actually just the lowest noise possible. I considered a Barney as well, but finding a place that makes one seems a bit hard. Also, I only use lenses on adapters, how much do you imagine that adds to it? When I did my last test it was without lens as well, maybe the weight blocks some sound as well? C

Just to follow up. I found this video of this nice gentleman showing the NPR he used when he worked at BBC, and mine is a lot louder than this. https://youtu.be/gvpNwVBqzhw?t=3m8s C

Hey everyone, This is really messing with me and I am trying to find the solution to this. I have shot with both Aaton LTR, and the Arriflex SR, SR2's and SR 3's. Now when I was looking for a camera to buy, it was to be a sound sync one, and naturally people suggested the ACL. When I look at the manual it says in the best of worlds is just under 32 db. Now I have shot on the Sr2 recently and the only real noise that we hear is the daylight spool spinning. And I know that the loop really matters here so please, if anyone could show me a proper one. Also if anyone has a video of their camera loaded and the sound, I would be happy to hear how it should sound :) C

This is of course one option...

Hi everyone, Now I know this lens has been around the block for quite some time. And for the purist, this is at best a decent run-and-gun lens for a R16 camera. However I might be using it for a smaller project soon and I am having issues finding information about the lens. More specifially the aperture. I know it is a variable one, but when does it move? Because physically the two lenses I had access to use, both have the aperature at F/1.6 over the whole zoom-range, physically. So planning a decent exposure is a lot harder. Now I know I can lock it to F/2.2, but in this scenario I would love yo be able to use the full speed of the lens. Appriciate any input. //C

Thanks. This forum is a gold mine for people that feels a bit unsure on their choices :) //C

Hey everyone, I am need of some pointers for an upcoming project. An interrogation scene that is inspired by remake of “Starsky & Hutch”. I have read several threads on the typical set up, 1-2 kino 4-banks in the ceiling. And I was thinking 1 1k each for the profile shots, with diffusion. All shots with close up on the table I was thinking a small foamcore to get a slight bounce. As for gels, since I am going for a warmer look I was thinking tungsten bulbs with 1/4 CTO on everything. I was also considering a kino 2-bank for the back wall with 1/2 CTO. *EDIT* I have also considered shooting two 2ks aimed at the back wall through a 12x12 instead of the Kino (since side walls seems very sparsely lit *EDIT* Shooting this on 7213, and the lenses we got max out at T2. The scene for reference: I am listening for any pointers, this will be on a stage so I have a lot of possibility to move things around. //C

Now this might be even more crazy, but seeing as we are already in the S16 field, what are the odds of making a B4-lens look good on S16? There are a lot of B4 lenses on Ebay, both primes and Zooms, and some have really good reviews, but as for now I am just afraid for the image quality. The chromatic abborration seems very common in the zooms (as well as a focus fall off), but I am not sure if they are using the “cheap” MTF adapter. I have emailed Abelcine to find out more, but I think B4 is a mount to dive into if it can deliver. C

PL-mount and both ARRI mounts (the adapter that takes both). Optar Illumina in 12mm looks good in PL. 1200 from Russia. I am hoping to build a good relationship with my lens maker however, and I think it would be nice to have unique lenses that are giving me that look I want. C

As crazy as it sounds I am trying to make a fully fledged production camera for shorts. And I need someting that my 1st AC can work with, hence the rehousing. As for the Kern-Switar I gain speed. I know the super speeds are amazing but if I can't go for that much, but something in the same ballpark, in cine-productio quality? That would be amazing. C

Well the thing is this...maybe I am just very bad at looking, but the lenses you are talking about will still set me back a pretty penny, and they are in a different mount still. The lens maker I makes new housing and new front coating as well to make them fit better together as well. And test it on digital and film cameras to work. Each one takes minimum of a month, and the people that I know who ordered from him says it has been on par with Duclos, and GL-optics. //C