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Boris Belay

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Boris Belay last won the day on September 2 2014

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About Boris Belay

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    Brussels, Belgium
  1. Hello Amaury, I don't have the exact mesurements at hand right now, but the NPR/Coutant is quite a beast, especially with that motor (there is a later Aaton-built motor that is quite a bit shorter). Off the top of my head, I vould say the camera is at least 50 cm tall, maybe 60. The next issue is weather that tripod system would hold the weight of the camera properly... By the way, I'm in Brussels and I repair Eclair cameras, so don't hesitate to let me know if you'd like to drop in for a chat. Best, Boris
  2. Hi Gregg, Sorry for the late answer but the answer is yes, and no ;-) Yes, there is, you can see it in your VF if it has a lightmeter built-in : it's the center circle that is slightly yellowish, or at least darker. That is where some of the GG light is diverted to the lightmeter cell. So, yes, there is some light loss, as you can see, but only in that center spot. Removing the Lightmetering system does not help, since the center spot pellicle is built into the GG and prism optical block. Not sure why sme technicians remove it for S-16 conversion, it's not necessary and it's a pretty useful feature of the camera. Some ACLs never had it, by the way, it was a factory option. I have one of the last ACL II and it didn't have a lightmeter built in (so no center spot either). And yes, you are right, the lightmeter is described in detail, with schema, in the mid-70's user manual (the one that most people have). Cheers, Boris
  3. Hi Brian, I'm pretty sure that there is a NPR Spare Parts manual floating on eBay at the moment. This is just about all you are likely to find as technical documentation on that camera (as far as I know, but I have looked for 7 or 8 years now). I recommend you get this first, study it, and then make up your mind as far as how much you want to get into the internals of the camera. Some parts are easily taken off, like the motor assembly (meant to be swappable in the field), so that may be a first step. Obviously, you'd want to be confident about your mechanical skills before anything else. In case you do want to get in there, my first recommendation is to get good tools, and in particular a very good set of fine to medium straight screwdrivers. Most Eclair screws have a very narrow head slot, and since the camera is old, it is easy to destroy those heads and leave you with a screw stuck in place if you don't have a screwdriver of the right size and in good shape. Eclair made their own screws, so don't expect to easily find replacements. Cheers, Boris
  4. Hi Giorgio, Just a few prototypes... They were shown at Photokina 1982. I have actually seen one ;-) As for the value of the camera, very hard to tell (too few built, unknown real-world operatability,...), not to mention the upheavals in the 16mm market today ! Ciao, Boris
  5. Sorry for this rant, people, but I can't let so many errors in so few paragraphs go unchecked -- ciinematography.com will only remain a bit authoritative if we don't let 'anything go' with respect to information, albeit historical (but perhaps historically accurate information and the perspective that comes from it is the thing we need most in the face of the ongoing technological upheaval in the field of image production...). So here goes : 'The cat on the shoulder' marketing claim was actually Aaton's very own, dating to the mid 70's, by which time many camera designs were shoulder-held. I was meant to advertise a better, more ergonomic design, not just any shoulder-holding (and the target was probably more Eclair than Arri in that respect : Eclair does it well, we do it better!) The Eclair 16 was by no means the first shoulder-held camera : just think of Eclair's own 1947 design, the Caméflex Jean-Pierre Beauviala had nothing to do with the design of the Eclair ACL, which was designed by Coma and Lecœur. The ACL was not 'much delayed'. In fact, it's the Aaton 7 that was 'much delayed', and I'm pretty sure (although I'm ready to be corrected on that), date-wise, it was more like 'announce and '73 and produced in '75), making it a contemporary of the Arri SR. And to give back Beauviala his due, if the ACL was not his 'sketch' for the Aaton 7, he certainly looked at it closely and had one briliant idea to improved on its ergonomics : to move the viewfinder in front of the camera (rather than on its side as on the ACL and many previous designs), so that the body of the camera could be moved back and better balanced, weight-wise, on the shoulder -- that's the genius behind the cat on the shoulder ergonomics of Aaton cameras. Paradoxically, it's also what nearly brought Aaaton's demise when, after much delay, the Aaton 7 was released in the same time frame as the Arri SR (which also has that forward V-F design)and Arri decided to sue Aaton on patent infringement. Putting its great financial weight behind the legal procedure, Arri did bring Aaton to its knees, but Beauviala is also an astute entrepreneur and managed to get his company back on its feet after only a short while. Voilà, end of my rant. But please, Michael, check your facts before posting, next time.
  6. Hi Steve, I probably have an exploded view of some model of the R16 somewhere. If interested, send me a PM with your e-mail address and I will check. B
  7. HI, Yes, that looks like a decent battery. At 12Ah, it should last for quite a while -- more than you're likely to ever use on any single day's shoot. Basically, all you need is a Lead Acid 12V. battery of 4Ah or more and a power cord terminated by an XLR-4 female connector (pin 1 is ground, pin 4 is 12V.). Lead acid batteries are cheap and solid, and they come in many sizes (and amperage). THey are the same that are used in cars, but smaller -- often used in R-C model airplanes, cars; etc. Best, B.
  8. Ciao Giorgio, To me, this camera looks like a 1976/1977 model that had an ACL II base added later. Everything coresponds to the late 70's model : motor, viewfinder, small details on the body... Also, the ergonomic handgrip and its attachment on the body are not standard, so they were also probably added later. Look at all the info that I put on eclair16.com to help with the dating of these cameras, and a lot more info too. Regarding the viewfinder, yes it is removable easily. But yes, if you want to trade it for another kind of ACL viewfinder; you have to have the matching mount. If you do, it's easy, as it's only attached with two screws. CIao, Boris
  9. Hi Erkan, That's on principle... Bu the Ange 12-240 is truly a heavy lens. I think I would use a lens support with it myself. I have a couple of custom made models I picked up with ACL kits. If interested, send me an email at bobolex@gmail.com Best to you in lovely Instanbul ;-) B.
  10. Hi, Yes, you can... In a black bag, of course. Either unthread the begining of the film and spool it back onto its daylight spool, or cut the film where it enters the light chamber on the spooling side (you will lost a couple of feet, but it's simpler -- just don't forget to put scissors into your changing bag !). Cheers, B.
  11. Hi Gregg, That Ferania stock was probably too old and became too stiff to move through the mag properly. Not to mention it's Italian mad ;-) No seriously, old stock is always more rigid than fresh stock, more noisy, etc. I've never tested any sound-stripped stock, but it may even add to the problem. Time to test all of these mags with fresh film ! THe best would be to spool 200 or 400 ft on a large daylight spool (do you have one?) and test all the mags with the same roll (filming a board with the mag serial number at the beg. of each take, to keep track of which is which). You definitely don't need to shoot 100ft per mag to test them. But do take them out into the sunlight light (I know it's winter in NZ, but hopefully you still get more sun than we do in dreadful Belgian Summer...) and test for real-world light leaks. How are the mag-nose rubber seals, by the way ? I have to look for a good source of them, since these old mags are usually in sore need of new seals. Best, B.
  12. Hi Gregg, These adapters were designed for the NPR and the Caméflex, which didn't have the optional mounts of the ACL. They're not as good, but should be fine nevertheless. Check the mating surfaces on the lens seat and on the adapter front : that's what's critical for FFD. As for the lens seating, if it's tight, with no play, you're good. If you only have one Arri B mount, you could also leave the adapter on the lend (some have set screws in them to fasten them to the Arri B mount) ans treat the lens as a CA mount lens. Cheers, B.
  13. So much confusing information guys ! The simple answer is : ALL Macro-Switar 26/1,1 lenses have a preset aperture design AND are RX specified. And they are great lenses that do cover the Super 16 frame. Voilà !
  14. Because of the large depth of field on a wide angle like the 10mm, it's best to check the focus at closer distances too, like 20 or 30 cm. This will tell you whether your distance scale is accurate.
  15. Hi Richard, The Vario-Switar 100 POE has a constant aperture (max f : 1,9), which means there is no light loss whether zoomed in or out (one of the design features of a lot of cinema zoom lenses over cheaper photo lenses). If anything, you may want to expose your film 1/2 of an f stop slower to compensate for light loss of the optical elements (for some reason Kern does not give T stops which account for that) and for the ageing of the lens. Film will be able to handle this very slight over exposure in any case.
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