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Re: ACL lenses

Eclair ACL Discussion and Support

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Huh, so the Angie 15-150 is not a good choice for S16. Curious?

I have heard it will work from 50mm on up. A telephoto zoom only.

What about
the Zeiss 10-100 converted to 12-120?

There are two revs of the 10-100. The second one is better.
The 12-120 is OK, but it's not as sharp as the 11.5-110 which is made for
the S-16.

The all-time favorite is the Canon 8-64, because image size does not change
when one does a focus pull. Other lenses do not have that property.

Any thoughts on that? You mention
Nikkors, are those Nikon lenses?


I use a Tokina 17mm, metal barrel, multi
coated glass, and it's light. It works great for me, though I don't do any
blow up work and I still work in Reg 16 (usually transferred to video). I
get excellent color rendition from it and it's sharp.

Should be good.

I read somewhere that
the benefit of 35mm still lenses on a 16mm camera is the fact that you are
using only the middle portion of the lens, which is the sharpest part and
most lenses tend to go softer around the edges.

That is not the reason. The reason has to do with the RTF (Resolution
Transfer Function), which on 35mm still lenses is optimized for fine detail
at the expense of contrast. Since contrast increases during the blowup, it's
an OK tradeoff. It's also the case that new design 35mm lenses are readily
available. The age of the design has a definite impact. Lenses have steadily

I also like the fact that my
lenses use standard filter threads so I can jump all my lenses to 72mm
a cheap step up ring. Regarding the Nikon conversion of the ACL mount, the
Moviehouse wanted $350 to do it. Is Optical Electro even close to that?


On Wed, 16 May 2001 01:31:13 -0400, Eclair ACL Discussion and Support
>  Years ago, there was an article, perhaps in American Cinematographer,
selection of lenses for blowup work.
>  The conclusion was that Nikkors were the optimal choice.
>  For projected 16mm, Nikkors were found to be less usable than Zeiss
optics, because the RTF is optimized at too high a spatial frequency, and
thus smeared out due to projector jitter. However, projected 16mm is no
longer a significant market.
>  Abel Cine-Tech in NYC has a web page on Super 16, and suitable lenses.
>  They specifically state that any 35mm zoom can be used for S-16 work,
that older S-16 zooms, such as the Angenieux 15-150 (which I unfortunately
own) are to be avoided.
>  The 16mm Camera Book states that for blowup work, there are three
choices: Zeiss Superspeeds, the remarkable Cooke 10.4-52, or Nikkors. The
Cooke Kinetal primes,which I own, are not sharp enough.

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