Re: Eclair ACL thinking about purchasing an acl.

[Robert Morein <rho@netreach.net>]

I say bullshit to every allegation of the detractors.
Every film camera has idiosyncracies, because all film cameras were produced
in small quantities. There are only about 12,000 sync-sound 16mm movie
cameras in existence in the world.

Tell the professionals that the Arri SR series is incapable of producing
footage that can be telecined unless the gate is replaced with the SR-3
Advanced Gate. The ACL has had the spring loaded side rail from the
beginning, and has no such problem. The ACL is known to have among the
finest registration of any camera, right up with the SR-3 Advanced Gate and
the Aatons.

There are a number of technicians worldwide who service this camera. Unless
you physically damage the camera in a major way, as by impact, dropping, or
feeding the wrong voltage to the motor, it is unlikely that you will ever
test the availabilty of parts for the camera. In fact, various repair shops
are making an increasing number of parts, primarily enhancements, for the
camera.

There are new shutters, mirrors, and motors available. Some trim parts are
not, but it's usually possible to rig something up.

The Bolex is a specialty camera. It has three uses, and only three:
1. The mechanism incorporates special features for in-sync camera effects.
2. Stop-motion and time-lapse photography.
3. When you must have a very lightweight instrument, as in the case of a
tourist on foot.

The reflex Bolex incorporates a beamsplitter prism that introduces an
optical aberration. This requires the use of special "RX" lenses which
should not be used on conventional reflex cameras. The noise level of a
Bolex is such that you will be restricted to shooting either silent
experimental films, or films with the camera whirring noisily in the
background. If you want to shoot non-sync, you may as well pick up a Filmo
70 and play around with that for a while.

The ACL cost $20K in 1980. That should give you an idea of the worth of the
incredibly fine machine work in current dollars.

You can shoot a feature with an ACL.

----- Original Message -----
From: Rollcamera62@aol.com
To: EclairACL@topica.com
Sent: Saturday, April 13, 2002 3:53 PM
Subject: Eclair ACL thinking about purchasing an acl.


Hey all, this is my first time writing to this discussion group, however
I've been reading many of the different threads on this chat room for
several months now.  I am almost convinced on purchasing a s16 acl.
However, I have been advised against it by a few industry pro's who are more
experienced than myself.  There reasoning ranges from the acl being too old
of a camera and that replacement parts are not readily available to the acl
not being considered a true professional camera, unreliable, too fragile,
unable to be correctly be converted to s16, and a whole host of other
excuses.  I value these guys opinion but it seems to me that every one of
you on the eclairacl chat seem to be very happy with your cameras.  I would
appreciate it if you acler's would help to dispel the myths and lend your
expertise to help shine some light on the subject.  I am in the market for a
sync sound 16 mm preferably a s16 camera.  Aaton and Arris are at the
present moment out of my financial reach and since I am still, to some
degree, a novice, I don't think I would purchase an Arri or Aaton even if I
could.  I've been advised to purchase a brand new Bolex, although they are
great cameras, they are not sync sound.  Could someone help me with my
dilemma I am anxious to shoot film but I'm confused as to which camera to
buy.  I like several things about the acl (onboard batt, sync sound, 70 fps,
etc.) but my concern is whether buying one is going to be a dream come true
for me or a nightmare.


Someone please HELP!!!

Best Regards,

Rafael

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