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Re: Eclair Cameras: Intervalometers
Thanks for the information, the CM3 seems like its one of the most versatile
From: Leo Vale <firstname.lastname@example.org>
Subject: Re: Eclair Cameras: Intervalometers
Date: Fri, 28 Feb 2003 09:49:54 -0800 (PST)
--- Ian <email@example.com> wrote:
> The Cameflex has two pull down claws but no pin
> registration, so I'm wondering if it would
> work ok for effects work (like compositing stop-
> motion with live action)...Any advice if the image
> would float too much?
--- Actually you don't want it to float at all.
There was a 1971 short film of Hawthorne's 'Young
Goodman Brown' made at the AFI. I never saw it, but
it had a cover article in American Cinematographer.
The central scene was a border line psychedelic fx
show. Not at all in keeping with a Puritan or
Calvinist aesthetic. But lots of split screens,
rotoscoping and other opticals.
Anyway they used the AFI's CM3s, which were probably
brand new. So they had acceptable registration.
Eclair's big CM3 brochoure claimed the CM3 has better
registration than an Arri IIC. This probably depends
on how fine tuned the camera is. As I said the AFI's
were probably factory fresh.
You could try shooting a registration test. Since the
CM3 can't be back wound, you'd have to rewind the film
in a darkroom with rewinds. Major pain.
& since you can't backwind, you can't do in camera
split screens, as in Dynamation.
yours in TohoScope,
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