Search the Community

Hey all, I pretty much just want to get this film in front of strangers. Tell me what you think! I am an iterative type of person, wherein I will go into the next project with what I learned. Here is what I can tell you about this project: Shot in Portland, Oregon - Dec. 2023, Final cut: Feb 2024 I shot this film on an Eclair ACL 2 (and an ACL 1 for B-Roll) using Kodak 500T 16mm Film. I shot 900 feet of film, which comes to exactly 25 minutes and 32 seconds (at 24fps). I sent the film to "The Negative Space," by Nicki Coyle, to be processed and scanned in 4k. The filming was spaced out over 3 days - All of Vincent's lines were in one session; a week later, we shot all of the Dean's lines. The following Saturday, we shot the creepy basement scene. For sound, I used a TASCAM DR-40x with an Audio-Technica AT875R Microphone. The whole setup worked really great, with a wider angle microphone I think the sound of the camera would've been a problem, though you can still here the shutter in some moments, I tried to mask it with room tone added in post. I edited the project in Davinci Resolve with some visual effects in Blender, Photoshop, and After Effects. The Painting was made in Photoshop. I took pictures of DeAndre (Vincent). Similarly, I positioned him to "Not to be Reproduced" by René Magritte (ironic, I know). Then, using Generative Fill, I filtered the image with the prompt: "Abstract Oil Painting" to get the final look. I motion-tracked and often rotoscoped in the final PNG in After Effects, which is difficult when working with 16mm film. I learned a lot with this project from a directing and writing standpoint. My two biggest takeaways are: 1.) I cannot simultaneously operate a camera and direct the actors. I need to hire a Camera Operator next time! 2.) At least one whole page of dialogue didn't make the final cut. This was okay because the dialogue was motivated to have the same end. This means I could cut out a large portion of dialogue to make the interview part more succinct without losing any crucial story points since everything they discussed pointed to the Painting. It was nice to have different dialogue options to intercut, so it worked out in the end. Please let me know what you think!

Hello there ! I am wondering about the scan part of the production for upcoming tests on an eclair gv16. Am i suppose to ask to the lab to make the Scan or TC at regular 25fps recommendation or am i missing something ? I understand that it is good to match the frame rate to the scan/TC 'rate' for 25 fps and under, but for the rest, i don't have an idea. thanks in advance Jordan

Hi! My name is Pietro Brunelleschi. young dp from Italy. Recently my Eclair npr motor broke down and now I'm looking for another one in Europe while I'm trying to bring the broke one back to life. I don't know if in Europe there are lots of motors for Eclair Npr, but I know there are like 12 kind of dirrent motor compatibles that can work with her. This one down ( image ) is my current motor. This is a request of help , of motor, ( to buy if someone has one to sell ) and also of advice if someone knows something that can help me with it. Thanks to all. Pietro Brunelleschi

I've asked around, read the manual, read online, called techs, and still can't get a straight answer on this one. I have an Eclair NPR with the Beala (Beauviala) crystal motor .. the manual states if the light goes on, sync is achieved and if the light is off, sync cannot be guaranteed. Elsewhere I see the exact opposite, and that the light is a warning that sync has been lost. I know this is because of the other motors that were made afterwards having different specs, but can anyone please tell me what the truth is on this one? Thank you!!

Hello, I am looking for an Eclair NPR Crystal Sync motor. My motor had some issues and I cannot rely on it for filming. It seems almost impossible to find one these days on eBay or in any store that sold it in the past. I am asking here to see if anyone can help to shine some light on my search. ? Thank you, Leo

Eclair ACL Super 16mm Camera with Zeiss 10-100mm lens and Bescor 12v li-ion bat. Condition is "Used" French made, the better of the models, with Bescor 12v XLR battery, recently serviced and converted by Les Bosher to super 16m looking for offers around £2300, open to conversation, if bought outside of ebay. Eclair ACL converted to super 16mm by Les Bosher, recently serviced, variable speed motor and rotating eye peice, and handle. Fully working XLR power input 2x 400ft french made magazine recently serviced Zeiss 10-100mm 3.1 lens with Arri mount and adaptor for eclair New Bescor 12v battery 4 pin XLR (worth £250) Tifen filters x 5 various Film Changing bag flight case Motor runs fine, magazines are like new. Lens is a bit stiff, but nothing a little service won't fix, reflected in the price Collection in person available. Any questions just ask postage available Link to ebay posting ; https://www.ebay.co.uk/itm/Eclair-ACL-Super-16mm-Camera-with-Zeiss-10-100mm-lens-and-Bescor-12v-li-ion-bat/143855996556?hash=item217e7c4e8c:g:VAMAAOSwttRfuPMC

Hi everyone, I recently bought a very early Eclair NPR from France, serial no 199. The lens turret on it is a c-mount on both bottom and top mounts which is quite uncommon. Does anybody know where I could get a turret that has the Cameflex mount or know someone who might have one or a parts camera that I could have one off? Kind regards Aren