Bruce James

Gareth - My motor is also open on the back, so I'm assuming this is just the design. Maybe the thinking is that it would be attached to the Bolex anyway, so there's not much risk there. I think I can provide a little clarification on the drive key (I think that's what the plastic connection to the 1:1 shaft is called): As you probably noticed, it's possible to remove the drive key by loosening the little screw on the side. I have both a drive key that fits a RX5 (and I'm assuming an SBM as well) and another one that fits an RX4 (same as what yours looks like). It would be nice if these were metal, but I kind of wonder if the thinking was that if something went wrong, it would be better for this easily-replaceable part to break than for the drive shaft in the camera to break. I sent an email to Procam, the U.S. dealer of Bolex cameras and the place I use for repair (I'm at a university and we still have around 20 Bolexes that get used every semester). I'll let you know what I hear. If I don't get any info there, there's one other resource I'd try, too. I'm not sure what to say about powering the controller. The SCC-300 is powered through the motor power, so there's no other connection other than the 4 pin from the motor. The red mark is usually positive, but not 100% of the time, so that might be worth more research. If you need to find a connector to fit your controller, you may be able to figure out what it is by measuring and cross-referencing with Lemo's web site: http://www.lemo.com/en/standard-range/b-connector-0?domain=[term_node_tid_1] If I had to guess, I'd say this is a Lemo B connector. I forget how the sizes are marked. Mouser is a useful resource here as well: http://www.mouser.com - Bruce

Thanks so much for the archive of the Norris site! I have an SC-300 and the Bolex motor and I'm trying to find pinout information on the Bolex motor. What I'd like to do is use it to control the camera with a micro controller triggering the camera and a computer and I just need to know what triggers the advance (shorting two pins, a certain voltage, etc). Would you happen to know what the trigger is? I also noticed that there's a 2 pin lemo connection on the SC-300 and was wondering if perhaps this was for an external trigger. Any ideas? Thanks, - Bruce

Thanks for all the responses. I went out of town shortly after I posted and didn't get a chance to check back before I left. I'll loose the formers. - Bruce

Hi all. I shot a short with my K-3 last year and haven't used it since because of these scratches. This is a still grab from an SD video transfer. This pattern, or one very similar to it, appeared in several rolls, but only on about 1/3 of the film and never on an entire roll. Has anybody seen this pattern before? I still have the loop formers in my camera. Could that be the problem? Any help you can offer would be appreciated. Thanks, - Bruce

Thanks for the reply. This makes sense. I think I probably will just shoot it normal and see what I can do in the transfer and in post. I'll definitely shoot one or two takes overexposed, though, to see what I come up with for future use. Thanks again.

I only have one exterior location and two shots to get there and I have about two hours at the end of the day when it's in a building shadow, so I'm not too concerned about getting in the right range with an 85B and some ND. As far as nothing but white on film, what I'm looking for is a compressed exposure range where it's maybe two stops to white from middle gray, so a decent amount of white is part of the objective. Wouldn't I want to shoot the grayscale at 2 stops under if I were going this route? I would think that transferring as if the two stops over exposed grayscale were middle gray would increase my exposure range above middle gray. The reason I wouldn't expose normally would be so I would be getting film white instead of video white. But maybe that's not worth worrying about. I'm not sure that I communicated what I'm going for effectively. I want to end up with an unnatural-looking exposure range above middle gray. So white is only a couple of stops above middle gray. I wish I could think of a movie I've seen this in to better explain. Maybe it will come to me. Thanks for the response.

Hi. I'm shooting a sci-fi short this weekend on super 16mm (no time for a test) and I'm wondering if anyone can give me some tips on a look I'm going for in the exteriors. The story takes place in the near future after a global catastrophe that has made the climate colder and the sun more dangerous because of a thinned atmosphere. So I'm looking for a lot of blown-out highlights both to "show" the danger of the sun and hide some background details. I forget what this is called, but what I was thinking I would do is overexpose the highlights and then in the video transfer, "print" down so that middle gray is middle gray, but there are only a couple of stops between there and totally blown-out white. I'm shooting Vision2 200T. I was thinking of over-exposing two stops. Am I on the right track here? Any suggestions? Thanks, - Bruce