Zachary Vex

I recently bought one on ebay that was modded. The lens was not re-centered, and the rollers were not modified. I also wonder about the potential for scratches because of it being originally designed to protect the sound area. A ridge runs down the aperture plate that originally rested against the film between the image area and the optical track/perf area that might scratch the super 16 image, although it has been smoothed in the gate area. When I received it all of the idler rollers inside were frozen! I carefully removed them and cleaned and lubed their bearings so they spin freely now. It came with two lenses designed for video that (allegedly) have super 16 coverage. Unfortunately, these idler/pressure rollers all touch the emulsion side of the film and are designed like the gate, with a ridge that supports the film in the space between the optical area and the academy image area. Sigh. I shot a roll of Kodachrome with it last week and will be sending it off this coming Monday. Once I have it transfered, I'll let you know (or perhaps I'll just project it since it's reversal and not terribly important stuff).

David, such impressive images. Did you use any diffusion on the lens?

I may have a chance to pick one up... electric focus, electric zoom, with remotes, lots of extras!

update on this: I had exposed 300 feet and removed that portion today for processing, and I discovered that one of the two latches that hold the core in place was in the retracted position. I was certain that I had released both by pushing the center button and felt them go into place, but during the final loading step while turning the core to tension the extra film this time I realized that it's very easy to push in one of the latches if you turn the core using the spindle. At any rate, the pancake wasn't completely flat as a result, which explains the moaning sound as it rubbed against the inside of the magazine. From now on I'll make sure to double-check the latches on the core before closing the lid. This unfortunately doesn't explain the squeaking film counter. I have to finish shooting the last 100 feet before I can examine that side of the magazine.

my mags are s/n M1206 and M1229. I have another question... about halfway through a 400 ft load, one of my magazines started making a very annoying squeaking noise which was alleviated by turning off the footage counter (whereupon it fell silent). I'm worried that it would sound like a bad bearing on the counter's roller only 1 week after level 4 maintenance. Shortly after that problem was solved, the magazine began moaning. Is it possible that the pancake loaded up unevenly somehow? it was perfectly smooth when i started it, and was feeding on in even layers. I used this magazine successfully last week with no noise whatsoever, but it developed this problem with my second roll yesterday.

hi Nathan, and thank you for posting that picture. i have seen that very same setup in the Aaton manual, but unfortunately, that's not where my roller is! mine is further to the right, not next to the coaxial (if that's what it's called). my roller is about halfway between the pinch roller (if that's what it's called.)

so over the top, or under? afraid to share?

Fuji still makes some double-perf 16mm stock. look here: http://www.fujifilmusa.com/JSP/fuji/epartn...avBarId=C527314 of course, you can certainly find some old 2R stock around. Kodak didn't discontinue it that long ago... it was within the last year.

I called Abel and was told that the film should run under the first idler roller after the coaxial roller (between the supply and takeup sides of the magazine).

I have a set of printed instructions from the Aaton site (available as a PDF from here: http://www.aaton.com/products/film/xtr/ltr.php ). Unfortunately, the first guide roller before the first pinch roller on the takeup side of the magazine appears in a different place than that of the magazine in the instructions. Even more confusing, the drawing inside lid of the magazine shows a completely different arrangement with two idler rollers before the first pinch roller, with the film going under the fist and over the second, and the second one looks like it's in the same position as the single roller in mine! so the instructions in the manual are in direct conflict with the instructions inside the lid... how annoying! My question is this: which side of the roller does the film go? above or below? the instructions say below, but as i said, the roller is in a different place now, so either seems possible. i realize that keeping the emulsion safe is the most important factor, so over the top seems best since the emulsion would not touch the roller that way, but I can't be sure. Anyone know? I need to load the magazine for a documentary shoot this evening, in about an hour.

i've got a Kodak K100 modified for super 16mm and it has a c-mount, and the lenses the previous owner selected were Computar TV lenses, 12.5mm and 25mm. these are probably not the most spectacular lenses in the world, but they cover the super 16mm frame.

when using the reflex-type Bolex cameras your view shows exactly what the lens sees, so you don't have to worry about parallax problems you get with a non-reflex viewfinder. if you use a non-reflex viewfinder, you have to adjust the distance to the subject using the small wheel on the bottom of the eyepiece (which moves the eyepiece to align your view more properly with that of the lens) and you have to make sure you've selected the proper length on the viewfinder as well (there are levers on some models with numbers that should match the length of the taking lens, other models have these black frames that flip into place, also numbered to match your lenses.) so there are two extra things to worry about when using a non-reflex viewfinder... when you set your focus, match that number using the little wheel on the bottom of the eyepiece, and select the length on the viewfinder each time you change lenses.

My Bolexes have a stop that prevents them from being over-wound. Check that the switch above and to the left of the crank is set to the Motor (upper) position... it may have been moved.

i've never used T exposures. i'm not into animation or night sky photography now... and luckily i have another Bolex that works properly in T mode (although it has a turret, so i'd have to use my old and not-so-special primes.

i don't think the bolex has a variable shutter. it looks solid to me.

wow, what a wild site. i wouldn't want to take apart a Bolex and make it S16mm myself... who knows if hot glue is stable at different temperatures and humidities? insane! thanks for the tip. i'm getting the camera right now and looking, one moment... and... it's perfect. the shutter closes, the claw inserts and grips, it pulls down, it retracts, the shutter opens. thanks so much! i simply let the wind run down, then wound it a few degrees (maybe 10) and held the crank while watching the mechanism turn with the pressure plate removed. excellent help! thanks again!

it's my understanding that a 50mm lens (normal on a 35mm camera) is a "normal" view. to achieve a "normal" view on a 16mm camera, you need a 25mm lens. however, if you put a 50mm SLR lens on a 16mm camera with a mount adaptor, you still have a 50mm lens. you also have plenty of coverage in case it's a super 16mm. if you put a 35mm camera in front of your subject and frame it up perfectly, and then switch that lens to a 16mm camera at the same position and attempt to frame, you'll discover that you only get a portion of your subject in the frame. that's simply because the 16mm film is a smaller format, so it has a smaller "window" on the world. in order to get the same framing of your subject with a 16mm at that same position, you'd have to use a lens that is half as long as the one you used with the 35mm camera. is this the answer to your question, or were you asking about something else?

i imagined there might be a window like that. thanks for the support. i wish i could tell you what model it is! the metal tag that indicates the model number is missing, with only the old dried glue to indicate it was ever there. it takes single-perf film (one row of teeth), it has a film footage/frame counter, runs 12 to 64, and has a metal plate on the front with suggested exposure ranges for 10-20 and 25-50ASA on it (at 16i/sec). say Bernie, did you see my other question about lens coverage on a modified K100 (super 16mm)? do you have an answer for that?

I just received a K100 that was modified for super 16mm (very unusual piece) and it seems that the lens mount was not re-centered, nor was the film path moved to the middle of the lens. the aperture/gate was simply opened up for extra distance and a video lens installed. the rollers inside are not modified either, so they seem to be putting pressure on the emulsion at the edge of the old standard 16mm frame instead of the outside edge of the film... so we'll see if that damages the emulsion. Sigh. Does it matter that the lens is not centered on the frame? Is it likely that I'll see distortion at the edge of the frame? There's an included 12.5mm video lens that supposedly has coverage also. Will I have trouble getting coverage with longer lenses? Or is it only at short lengths that coverage is a problem?

It's actually at your shop getting level 4 maintenance right now. serial number 499. what would Abel charge to install a video assist?

I recently picked up a Bolex body that has a single c-mount which seems sturdier with my Angenieux 12-120mm than a turret, which I have to lock down. I was thrilled to get it for about $40, but in examining the camera, I've discovered that in "T" mode doing single-frame exposures, the shutter turns and stops halfway across the frame when it's supposed to be open! Is there an easy remedy for this, or has something serious gone amiss? will this affect normal exposure, or is it possible that the shutter might be open during film movement?

ahh, the things they don't tell you. that would be annoying. thanks very much, Mitch.

not if it was only used during previewing, and was removed and the eyepiece only was used during the take. but i'll think about spending $2500 rather than $700 just to satisfy your personal worries. 8^)

true. i have a Canon Scoopic and i just did a test with it... using the macro setting on its extreme, i could focus a 3" high object to fill the entire viewfinder and a 2.5" object filled the "action area" rounded-corner guide markings inside the frame. plus diopters are another approach, but they distort at the edges of the frame in a rather annoying manner. but they don't affect speed as much as tubes. here's a pretty good rundown on approaches to macro and their advantages/disadvantages... i don't think anything at all is left out, including lens reversal, and there's succinct explanations for every method: http://www.shutterbug.com/refreshercourse/lens_tips/172/

i wouldn't be using it for anything critical. the purpose would be for previewing/rehearsing shots in the case where the talent is directing (music video) and especially when using a crane, where the eyepiece is unavailable to anyone on the ground. just being able to see how things are framed up and how action looks in general is all i'm worried about at this time. go easy on me, okay? 8^) i'm a totally new at this stuff, and i'm just looking at options.