I’m thinking of shooting anamorphic with my ACL2.
Which is the best root to go for it?
Projector lenses? OST/OCT19 adaptor? Lens clamp? Bolex anamorphic?

At the moment I don’t have a c-mount to PL-mount adaptor.

Also, what would happen if one day I convert the Eclair to Super16 and I still want to be able shoot anamorphic?

Thanks for your time! Appreciated

(can also email me at info@lucarocchini.com)

As for the best fim for indoor, that is a subjective question because films all have their own technical as well as aesthetic qualities. If you have no idea what to choose, I would suggest Kodak Vision 3 500T for indoors and the Vision 3 250D for outdoors simply because those are going to be forgiving and easy to get a decent exposure.

As for sync sound – just clap a slate like you see in the movies! Then when editing use the sharp clack sound to line up the sound with the video.

I just picked up a Super 16 “Bernie O” ACL on Ebay. I’m looking forward to using it on my horror feature I’m working on.

Question:

1. Is loading the camera really difficult? I’ve got 2, 200 Mags and realize now that I’ll have to use 100 ft in them.

2. Do you have to load in complete darkness? How can you see what your doing?

3. Best film to use for indoor?

4. How is the best way to sync up the sound?

I’m a little nervous about making the switch to Super 16 as this is my first outing into this new world.

Any suggestions, insights, advice are truly appreciated! Thank you!

Rocco

My Switars are the non-RX type, and all of them, except the 25mm f/1.4, fit the mounts of other 16mm cameras, like the ACL and Beaulieu R16, and clear the mirrors of those cameras.

The depth-clearance of the ACL and R16 from camera-flange to mirror-baffle is approximately 3.6mm, maybe a fraction deeper, while the 25mm Switar requires approx. 4.6mm clearance. My non-RX Bolex easily accomodates that depth from camera-flange to shutter.

(Somehow, the RX Bolex must also accommodate the beam-splitter prism in front of the shutter, and still clear the depth of the RX version of the 25mm Switar — I assume that lens is the same depth as the non-RX lens.)

Anyway, maybe someone among the pro-16mm cinematographers knows how much clearance the 17mm f/.095 Navitar requires. The lens’s combination of speed, ideal focal length and one-inch-format coverage would make it worth having for an ACL converted to Super 16, or Ultra-16. The ebay seller has the lenses on consignment. They are not on his premises, and he cannot measure the depth of their mounts.
Best wishes,
James

Unfortunately many eBay sellers do not understand this and so it can be difficult to know if the lens is standard or RX unless the seller knows what camera it came from.

I wish I knew which lenses worked as well! Hopefully with this info you can try to ask the seller, though.

All but one of the lenses fit, so far. The one that doesn’t fit has a protruding rear element, like the 25mm f1.4 Switar, that will fit only my non-reflex Bolex.

There is currently available on ebay a Navitar 17mm f/0.95 1″ format lens, but the photos on the auction site seems to show a moderately protruding rear element.

Has anyone tried to use that lens on an ACL, or even on a Beaulieu R16, and found that it will screw down to the camera-flange without having the rear element bottoming-out on the camera’s mirror-baffle at-or-before infinity focus?

C-mount lenses provide a male thread which mates with a female thread on the camera. The thread is nominally 1″ (25 mm) in diameter, with 32 threads per inch. The flange focal distance is 17.526mm (0.6900″) for a C-mount.

1″ C-mount lenses cover the Super16 format.

Except Schneider most Japanese lenses (Fujinon, Cosmicar/Pentax, Computar, Kowa, Avenir) and American lenses (Senko, Navitar) are reasonable priced.