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RE: Eclair ACL Angenieux primes

Hi, Ray

Thanks for making me feel better. So much of what we do as independents only
ends up as video anyway, but we often agonize over technical standards that
are uncalled for. How many 16mm films get blown up to 35mm and end up as
blockbusters? I think 16mm is a great medium for the artist in us, because
it allows us to shoot a few more movies and not wait years for a big picture
to come along. I always wanted to get back to 16mm even though I knew there
wasn't much money in it for that reason. I just like the idea of going out
there and shooting something that I'll enjoy the experience of looking at it
and maybe including it in one of the films I'm forever tinkering with. I'm
editing on a compilation film right now. I'm doing the narration and looking
at all my footage from the 60's and 70's on a moviscop.


-----Original Message-----
From: cinesota@yahoo.com [mailto:cinesota@yahoo.com]
Sent: Thursday, February 14, 2002 3:34 PM
To: EclairACL@topica.com
Subject: Eclair ACL Angenieux primes

Hey Vic,
I would keep the Angies if I were you.  You have a matched set and it
sounds like you put in alot of time collecting them.

Seems like we got wrapped up in fussing about how sharp different brand
lenses are and it's a valid argument...you can spend alot of money and
get alot of lens...but Julian made a good point awhile back that just
because a lens isn't the sharpest one out there it doesn't necessarily
make it less worthy, you just get a different, albeit softer look
(pardon me Julian if I butchered your overall point) and sometimes that
may be what you are going for.
I don't know how many times I've read an article on a cinematographer
and he is popping off about the lenses being too sharp and needing to
soften them.  Of course they are usually working in 35mm with Primo's or
some other out of this world glass, but the point is, it's all in the
subject matter and what you are trying to tell with the image.  If it's
that 60's look that you want then shoot with the Angies.  If we all want
perfection we should toss away our film cameras and start shooting 24p
Hi-Def.  One of the attractions of film is it's less than perfect
organic look.  If you are shooting 16mm for blow up, then yeah I would
try to get the sharpest image possible, but otherwise a softer look
isn't always a bad look.

On a side note, I think Mark and Julian had mentioned flare problems
with Switar lenses, particularily the 10mm.  There is a guy named Brent
Finley that made some step up rings for the Switars that allow you to
use standard, off the shelf 49mm filters and lens shades.  I bought a
couple and I just use a rubber lens shade to cut any side light. He can
be found surprisingly enough at...wait for it...www.brentfinley.com!  I
don't know him personally, but I bought a couple of adaptors and they
are quite nice.  About $25 a pop last I checked.
There is also an outfit in England (SRB Film) that builds custom
adaptor/step-up rings.  I inquired about having some built for my
Schneiders to allow me to use standard 52mm photo filters on them.  If
anyone is interested let me know, as the more we buy the cheaper they
would be.

Over and out,

valexander@stan.csustan.edu wrote:

Now, the funny thing is what will I do with my Angenieux 10-15-25
lenses? Maybe I'll sell them on eBay as a set. Oh, well, dreams die
hard. I
spent many a sleepless night hunting them down on eBay. They do give a
dreamy look to any shot, and God knows I have some dreamy footage from
60's that I want to match with some new stuff. LOL Maybe I'll keep them
after all...


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