Nicholas Fry

thanks for replying Satsuki, It was a local bar here in las vegas, pretty average in size, so the area wasn't too large. and it was low key. I don't have the dailies in my possession but I will try to get some still frames to look at. I see what you're saying about the different shots possibly needing different exposures. but sometimes in a wide the shot has plenty of exposure, and in a tighter shot from the same angle it is way under. I'm pretty sure that the manual shutter never moved, but you're right, at the time I wasn't aware that the bolex wasn't 180 shutter and i didn't know about the prism. that'll teach me to do some research next time. but for the cross processing, the director decided that he didn't like the look and I didn't get to do it anyway. so that wasn't it--i was just trying to justify why I would ever shoot on reversal for something like this. It was a bad move. if i can get some stills I'll let you know, thanks again

I recently shot a music video for a friend with a Bolex H16 Reflex. I was a little under the levels I wanted to be at so I had all of the film pushed one stop to compensate. Unfortunately when I saw the transfer the exposure was inconsistant. It started off decent but then there are sections of the footage that fall off to almost nothing, very little detail. I taped the stop on the lens so I'm sure that the iris never changed, and to my knowledge the lighting never changed. One person suggested that the NON crystal-synched motor was varying its speed. But it would have to be shooting at 48fps to lose just 1 stop of light, and I'm sure I would have noticed if it were going that fast. and then some of the later shots have plenty of light. Also unfortunate is that I shot the project on reversal so it could be cross-processed. so the exposure problem is even more severe. Could the old zoom lens labeled as a F:2 cause a dramatic loss of light when zoomed in? that's the only solution I can think of. Any Ideas? thanks, nick