Jeremy Rumas

True, but when played back it will stretch that 5.6 seconds into 30 seconds. And not many shots needs to last more than 30 seconds on screen for my project. Thanks for the input though.

I recently found out about the 128 fps version of the Bell and Howell Filmo. It was a modified version of the Filmo. Does anyone have any experience shooting with one of these? How does the footage look? It does not have pin registration I know, or reflex viewfinder. I am considering this as an inexpensive way to acquire slow motion footage. And I love the idea of a 128fps camera that has a hand wound motor. Would be great for traveling with. -Jeremy

I am interested in a simple, stand alone spot meter. Not a combo. But I want something that will allow me to meter just as I described as how I meter with my SLR still camera for shooting with my Bolex. I just want to have something smaller(as small as possible really) and lighter than using my SLR as my light meter. I want a meter where I can dial in, or program in my shutter speed and film speed and leave that set, and then get an instant readout of what f-stop to use when looking through the spot meter with the trigger engaged. This is how I meter with my SLR, and its fast and simple...there is a needle in the viewfinder that points to the corresponding f-stop. I am wondering if there are any stand alone spot meters that work the same way. The Spiratone spot meter I had before had a digital display inside the viewfinder that gave a numerical reading of the light(and it wasn't in f-stops)4. I then had to take my eye away, look at the side of the spot meter and use the manual dials, dial in the number that was in the display, and then it would give me the proper f-stop to use. I am wanting a light meter that eliminates the need for that step. It would really help for on the run shooting. thanks, Jeremy

anyone have any suggestions?

I need to be getting another spot meter, as my last one unfortunately fell to the bottom of the ocean while I was out on a trip shooting. I was using a Spiratone II Digital spotmeter. It was very basic, and worked well. But to get the reading, I had to first look through the meter, then take my eye away, and look at the dial on the side. Then turn the dial and line up the correct numbers, and there, I've got my f-stop. The time it takes to turn the meter to its side, and move the dial, are time lost shooting, and possibly important moments missed. I sometimes use my Canon SLR with a 50mm lens as my light meter. And with this, I can get the correct f-stop just by looking through the lens. This method is quicker in that regard, but a lot heavier and clumsier to work with when I am at the same time juggling my Bolex. Also, walking around with two cameras strapped over my shoulders screams "Hey! Look at me!!! I'm trying to make a film!!!" twice as loud. Also makes it look like I am taking people's photo twice. Kinda funny almost in that regard. So if anyone has any advice on a good meter for solo on the run shooting, lightweight and small, with instant feedback in regard to what f-stop to use such as in my SLR metering approach, I'd appreciate some recommendations. I really like the physical simplicity of something like that digital Spiratone II I mentioned...but I want the process to be even simpler if possible. thanks, Jeremy

Gary, I recommend going to Kantana in Bangkok. They process 16mm and 35mm, or at least they did a year ago. Its a big film production studio. They have their own lab on site, and a post house on site too called Oriental Post(Spirit and Da Vinci). I had 16mm processed there, and though I don't remember the exact cost, it was about 60% of what I pay in the US. They do not do 16mm workprints. I'm sure you can get their contact info online. Jeremy

Has anyone here shot with these? I'm interested to find out how the footage has turned out. Are they good enough for use in a S16 film with a final goal of a 35mm transfer? I have been looking into my options for ultra telephoto lenses, and these seem to be about it. I am most interested in the 300mm and the 385mm. thanks, Jeremy

I'm pretty sure the I/T lever only effects the shutter during single frame operation. It should not have any effect on continuous filming. For single frame, if set to "I", the shutter stays open for roughly 1/30th of a second(you'd want to meter for 1/40th second taking into account the prism). The "T"setting is for timed single frame exposures...as long as the shutter button is engaged, the shutter stays open. -Jeremy

here is another write up on the Bolex Rx prism issue: http://www.city-net.com/~fodder/bolex/truth.html According to this, standard C-mount lenses 50mm and under can be used with good results on reflex Bolex's, IF they are stopped down past about f3.2. The .pdf Nick linked to seems to indicate just about the same thing, that as long as you stop down one or two stops, a loss of clarity should be eliminated. -Jeremy

to correct myself: I confused the EBM and SBM in that last post. So in that photo I saw, yes, McCoy would have been using a SBM I think. And yeah, a SBM would seem a better choice all around for what you are doing than a Rex 5. -Jeremy

Michael For a housing for a Bolex, contact Sean at SPL: www.splwaterhousings.com His housings are light, sturdy, and he'll get you it back quickly. He took a week to make mine. You have to send your camera with the lens you will use, and make it clear what components you are ok with having removed while the camera is in the housing. Controls for just about anything can be added. I saw an article in a Surfer's Journal recently from a few years ago on surf filmmaker Jack McCoy. Throughout his whole career he's used wind up Bolex's as his land camera. Said whenever he would make the switch over to battery powered, they'd end up letting him down somehow when out in far away places. There was a photo of him filming handheld from the beach with a Rex 5 with bayonet mount, along with a pistol grip handle. Looking at his website though, it seems he uses SBM's now. Many influential surf films were made with wind up Bolex cameras, including the moast influential one of all, Endless Summer. If you were to have only one camera for use both in the water and out, I'd go with a Rex 5, with the sturdier Bayonet mount. I have not used a SBM, but I am going to assume it is heavier and a little bulkier, due to the battery. Possibly some others can chime in here. In the water, you really need to go as light as possible. My Rex 5 has a turret with C-mounts, but I would go with a Bayonet mount if I were to do it again, just because its sturdier(the only downside it would seem is that its a little more bulky). There is a bayonet to C-mount adapter on this page: http://www.jkcamera.com/Lens%20Conversions.htm -Jeremy

beautiful and inspiring. its interesting how even at such poor resolution, the warmth and organic qualities of the film footage shine through, as well as the great camera work. its definitely not an easy endeavor to go out and capture such natural footage in a foreign place. thanks for posting that.

Antonio, These look like splashbags, right? I have tried to use a splasbag type housing before in the surf, and won't ever again. They're just not built for being in waves I think. Also pretty awkward to use. Thanks though. Jeremy Nick, Great ideas. But I need a housing for my one and only Bolex, and I'm not going to take the spring out. Maybe in the future I could try that out. For now though, it'll have to be for my Rex5 as it is. Thank you for the ideas and the encouragement. Jeremy

Thanks for clearing that up for me, David. Much appreciated.

Thanks for the info Nick. A heavy housing is not an option. I either need to find a light one or build one. There was a really cool looking one on Ebay a couple weeks ago, custom built, plexiglass, with controls for everything. But the seller did not accept Paypal so I opted not to take a chance. I will check out that sight you mention. Jeremy

Thanks for all the info guys. I am most concerned with getting my negative stock processed accurately, representing the actual light I was shooting under. If I have warm twilight tones on a roll, yes I want the warm tones kept in there. I also want the duller overcast shots to look overcast, etc. I likely will not be doing a D.I. with this footage, and instead am planning on an optical blowup to 35mm when finished. That being said, should I keep on shooting a grey card at the beginning of each roll? From your comments, it seems like this would be a good idea... thanks, Jeremy

I am considering building my own water housing for my Bolex Rex5. I plan to use it in the surf, mainly shooting while holding the camera above the surface, so it needs to be light. It will need a control to wind up the motor and a trigger button/lever at the very least. Does anyone here have any experience with this? I have a lot of questions... thanks, Jeremy Rumas

Anyone looking to sell a water housing for a Bolex H16 Rex5? I would be willing to modify one slightly to fit my Rex5 if it was designed for an earlier model H16. I'm looking for a light, sturdy housing to shoot in the surf with. Not a heavy one for diving. Or if anyone has built one themselves and has some tips I would really appreciate some advice. Mainly in regard to what to use for controls for the hand crank, trigger button, and aperture adjustment. thanks, Jeremy Rumas

Is this housing still for sale?

Hello all, I have been shooting 100 foot rolls of daylight stock with my Bolex. I will usually shoot one 100 foot roll over the course of a few days, or even a couple weeks, and each shot is usually in different outdoor lighting conditions. I have been shooting a grey card for 4 or 5 feet at the beginning of each roll, wherever I happen to be when I reload and am ready for a new shot. And then I'll go and shoot with that roll as described above. The results have been good for the most part. But I am wondering if there is a more sensible way to approach this? Would it be better to not shoot a grey card at all when I am shooting like this? Or should a grey card be shot before every change in lighting conditions? thanks Jeremy Rumas

Nick, Thanks for the info. Back down in the lower elevations and moderate temperatures the trigger is working better. But I would like to get it working smoother. It also seems that towrds the end of a wind, it gets stuck easier. pixelation = time lapse??? Are you joking around here? Well, I think I am using the correct terms. Back in the day, shooting one frame at a time was referred to as pixelation. Maybe some old timers can explain further, or correct me. I know I have seen some info on the net somewhere about this. I can't remember why it was called this. Jeremy

Hello I'm currently traveling with my Bolex Rex5, right now on the Big Island of Hawaii, staying on a boat. Not the most ideal conditions for camera gear. I was shooting pixelation manually yesterday on the peak of the island, 13,700 feet up where it was close to freezing(it gets covered in snow up there at times), by hand, not using a time lapse motor. As it got colder out toward sunset, the exposure lever did not want to move smoothly, and it got stuck a few times. This has also happened a few times when shooting pixelation in moderate temperatures, but it was worst yesterday. Are there any easy and safe ways to lubricate this? What kind of oil/grease should I use? I can't send my camera away right now. thanks Jeremy Rumas

Camera is sold

...price is $1750.

Hello I'm selling my NTSC Canon XL2 with 20X lens. You can check it out here: http://chicago.craigslist.org/nwi/ele/265938469.html I am located in the Chicago area, in NW Indiana. Hoping for a local buyer. -Jeremy Rumas