Jeremy Rumas

Is the Tobin crystal sync motor still available?

Hey Simon, no worries! I appreciate the responses. So I went ahead and modified my synchronizer. Just carefully used some hand files, and it actually worked out really well. Gregg, that's interesting you have one that was factory made for S16, sounds like a rare find.

Thanks for the replies. I'm only using a synchronizer that was made by Moviola, like the one in the link. My edit of the movie is complete, and negative has been in the can except for transfers and some workprints. Cotton gloves, check, got em. Yeah Mark, the ridges on the rollers are symmetrical. I think I'm going to have to modify them so they don't scratch up the S16 image area.

Hi all, I'm about to edit down the negative of my movie in order to make a S16mm print(for an indie tour where music would be played live). I have already edited the entire movie digitally, with timecode. I am planning on using a 4 gang Moviola Synchronizer to keep track of frames when conforming the negative. One like this: http://az413224.vo.msecnd.net/img/42333/m_42333_1.jpg While setting my work area up, I'm looking at the Moviola, which I have not used yet, and I see that it looks like the inner lip of the rollers/sprockets on these will contact the film within the S16mm frame. I'm worried about scratching my negative within the S16mm frame. Anyone have experience doing this? Do I need to mill down the inner lip of the rollers(along where the 16mm soundtrack would go) in order not to scratch my S16mm negative? thanks, Jeremy

Will, Thanks for the company info there. I am going to look into all my options and make a decision soon. Much appreciated! -Jeremy

Will, I had given a bit of thought to this possibility, though I didn't think about doing an anamorphic squeeze on the print. This could be an option. Thanks for the suggestions and the contact info!

hi Dirk, thanks for responding. I sent you a PM.

I'm aware S16mm prints can't have sound. Non-sync sound can provided by a live band, a live narrator, samples mixed in live, etc. 16mm/S16mm prints are relatively cheap, they look beautiful projected, projectors are cheap and plentiful, and easy to transport. This is my project this would be for: http://www.hangsuponnothing.com/

hello all, Was wondering if anyone has any knowledge on this. I shot a movie on negative stock that is a combination of Regular 16mm and Super 16mm. I would like to get a Super 16mm print of the entire movie, that I can project with a projector converted to S16mm. The Regular 16mm footage would need to be optically blown up/cropped on top and bottom to fill the Super 16mm frame. Are there any labs out there that will do this? The one in my area that I talked to said they couldn't do it. thanks, -Jeremy

hi Giray, I use a C-mount to FD adapter. I had to modify mine to be able to engage the lever on the rear of the lens which enables the aperture ring to work properly. It was quite easy really. I have an adapter that looks just like this: My link You'll notice the adapter is made of two pieces held together by a few set screws. I took apart the two pieces, and inserted a small metal tab between them on the inside of the adapter, then put the adapter back together. I cut a small piece of thin sheet metal for this. I positioned the metal tab so that when the FD lens is mounted and turned into place, the metal tab engages the lever on the rear of the lens. It took just a bit of experimenting to get it in the right position, but it works perfectly.

hello all, I would like to film time-lapse of some epic storms this spring with my Bolex. I have one major concern: standing out in the open with a Bolex on a tripod seems like a pretty good way to attract lightning. And I'm looking to avoid that scenario. Does anyone here have experience with this, and tips for doing this as safely as possible? I'd really appreciate hearing from your own experiences. thanks, Jeremy

OK, I have a question specifically for the Bolex crew here....does anyone have any thoughts on using RX Switar lenses on this camera? I'm guessing there'd be the soft focus issue if the lenses are not stopped down, for lenses 50mm and under at least. Could an adapter or special mount be made to offset this? This camera gets me excited in that there is a possibility I could also shoot digital with all my current lenses I have for my Bolex.

Thanks for the link Chris. I usually only stop by the 16mm and Bolex neighborhoods, so I hadn't seen that!

Digital Bolex on Kickstarter This looks pretty interesting. I'm curious to see what happens with this...

Wow! Thanks for sharing. I had not heard of this yet. This sounds fascinating. -Jeremy

hey Gary, not sure how familiar you are with that big lens...did you check the battery in it or try a new one? I had one of those lenses once, and the light meter seemed to work pretty good in it. Seems like you got a great deal.

Beautiful!

Looks great Robin. Beautiful footage. I love the light, love the whole feel of the piece. Everyone seems really natural in this too, it feels very real. Doesn't feel forced. Nice test!

Thanks Nicholas. I shoot almost everything with Fuji 64D, 250D, and 500D. The teaser is a mixture of those stocks. There's also a few shots on Kodak stock, the 2nd and 3rd shots: night time lapse, and the time lapse shot of the temple with setting sun.

Well, hope that helps out Andrew. Good luck shooting. Don't know when I'd be in BC again, but thanks bro!

hey all, Posting this here because I want to share it, and figured some of you would be curious to see what Bolex footage looks like having gone through a 2K Spirit transfer with minimal grain reduction applied, dumped to DPX files, downsized to 1280 x 768 & rendered as high quality HDTV setting H.264 files, then uploaded to Vimeo. After seeing this on Vimeo, and testing out a bunch of different renders on there, I will get a bit more grain reduction next time during the transfer. Compression doesn't handle the grain as well as I would hope, still, I'm pleased with the results. This is a combination of R16mm and S16mm footage, from the same Bolex Rx5 camera, before and after an at home conversion. R16 footage is cropped in on. The rough film frame edges are in there because I dig the look. Click on the HD button to watch in HD: Hangs Upon Nothing - teaser

Well yeah, I guess most people would try to avoid hitting the end of a wind. I don't try to avoid it if I have a shot that goes for 25 seconds that I hope is worth burning film for though! Also if there's not time between shorter shots to re-crank the wind arm, then I'll often hit the end of a wind. This is for unscripted stuff. Footage counter, yeah I keep an eye on that. The frame counter, not so much. They are sturdy, but I'm still a little cautious. I completely stripped the winding crank's threaded hole on an early model Bolex when I tried to give it a wind. I had bought it off Ebay on a whim. I think I gave it a few winds, it would not run, so I tried to wind a bit more, and pop! I did not force it too hard. Really.

My Rx5 takes 21 winds. I'm actually in the habit of mentally counting off the winds when doing a full wind between shots. If shooting something unscripted where time is of the essence between shots, and I'm trying not to miss anything important, I wind really fast. Helps to know when I get near the end of winding so that I don't hit it the end point too forcefully.

Nope, I've never used one, sounds like an interesting idea though. I've been surprised by how much latitude film has in these situations. Here's what I do. For a light meter, all I use is an old beat up Sekonic incident meter like this one: sekonic meter I used to use a spot meter also, but this is all I use now. Since sometimes or often the light hitting a surfer or lineup is different than the light falling where I'm standing, I have to do some mental estimations, or walk around a bit and take a few measurements of light. It works though. For shooting in back lit conditions, I'll take a light meter reading with the meter facing the surfer/sun, and a second reading with the meter faced the opposite way 180 degrees(face of the meter in shadow). Go halfway between those two readings for where you set your aperture. Lean toward one reading or the other depending on what is more important in your shot: seeing the surfer and face of the wave/inside the barrel, or the surrounding composition. I usually lean toward getting a better exposure on the face of the wave/surfer, sometimes only using that second meter reading. That's where your eye goes when watching the footage.

I didn't realize there were a bunch of other skaters and surfers on here actually...that's cool to know though. For me it was a friend showing me Jack Johnson's The September Sessions that got me to buy a Bolex and shoot film again. That was mostly shot with Bolex, I'm not sure about the water shots though. I just thought the look of the footage fit surfing so perfectly. Thanks for the good words about my project. Yeah, I'd like to get this project out there one way or another. Sounds like you have a good plan. A solid tripod with a good head is really important, that's where you should probably spend what it takes to get a good one that will last.