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Re: Eclair ACL ACL basic questions
I have one of the 6:1 Zeiss zooms. It's a premium lens; very sharp. An old
Angeneiux isn't in the same category. This Zeiss is a little more plump than
the 10:100 ... but hey, it's still a T2 Zeiss (and a 10:100 T2 can cost
$2000-3000 used). Use a good lens shade, as the front element is quite
exposed (the shade will help with both flare, and help to protect the element
from scratching). If you are shooting regular-16 and find that the weight of
the lens is ok for your needs (it's heavier than an Angeneiux), it may very
well fill the bill without needing the primes. (Some folks have their tech
beef up the ability of the ACL lens flange to take extra weight; either with
pins banged in, or larger screws, or both). In the end, the proof is in the
pudding --- run tests. (even Zeiss may make a lens or two on Friday
afternoons). I ran an unscientific test with my Zeiss 6:1 against a Zeiss
Standard Prime, and just to my eye on a projector I couldn't see any
astronomical difference jump out at me. HOWEVER, I was not using the finest
grain film, which is where a difference would be the most noticeable.
Also, check to make sure that the lens is correctly collomated (as well as
the camera's lens flange), or you footage could be soft at infinity. Shipping
can throw off collomation --- so check. My 6:1 uses an Arri-Bayonet, so
you'll probably end up using one of those adapters with it.
T2.2 Arri-Standards can be obtained (used) for around $400 US --- sometimes a
little less, sometimes more. Check eBay, and "In Sync Magazine. I'll bet that
they are probably just as sharp as a new $5,000 Arri T1.2 Superspeed lens if
the coatings are still in good condition, and if the focus mechanism works
well. The later model of Standards with focus barrels that turn independently
of the rear-of-the-lens itself are preferrable. I can't tell you if the
"T-star" coating of the Superspeeds is really a significant improvement over
the coating used on the Arri-Standards, but my footage with standards is
incredibly sharp and I don't generally have flare problems with the primes
unless I'm shooting right into a light. And I figure if they were good enough
for movies made in the era of "The Godfather," then I'm perfectly happy to
But there has frequently been debate on this site over which lenses are best.
I'm a Zeiss chauvenist.
I recommend using a 14.4v NiMH battery, which has worked quite well for me.
In that way the power drops no lower than about 12v when the battery dies, so
that in theory you should never have an out-of-sync problem with a battery
going below 12v. Just get an AA battery holder that will take 12 cells (or
wire two 6-cell holders in series), stick in 12 AA NiMH batteries ($1.50 - $3
each), add an XLR plug and you are set. It is cheap to make yourself, and
runs a lot of film on one charge at 14.4v. (Check past postings by others who
first discussed 14.4v for the ACL on this site). You can use an NP charger
(make sure it has a "line out", and create a cable that will go to the XLR).
I'm using an ASPEN ROQ-1000 Fast Charger (charges 12v to 14.4.v batteries;
auto-detects), and it has worked very well. Professional Sound guys use
these, so you might check your local Sound place. They are a little pricey
($225), but solidly built for field work, automatic, and very fast.
Ray has been looking into all this to post on his up and coming ( or
vaporware???) web-site, and may have a list of battery resources.
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