Webster Colcord

Boris, You got a nice package there. I'm a little jealous of your BNCR mount! Good Arri standard-mount lenses are a bit difficult to find and they're not cheap. I just picked up this old Pan Cinor 38-155 and got it cleaned up by Simon Wyss. Really looking forward to shooting with it. The flat base is a Cinema Products sync motor, which runs off a 16.8V battery belt.

Stefan, do you still have an Eyemo with the spyder turret for sale? - Webster

I wonder if the first photo below could be of the setup in question? Also, in watching the behind-the-scenes footage it seems like their camera gear is relatively spartan. They use this little crane/dolly combo for everything. Can anyone tell me please what kind of little crane this is?

Don, I have a motor/Filmo combo with the exact same issue. Something in that clutch/shaft area isn't working.

The legendary and humble Jaakko Kurhi happens to live about 45 minutes drive from me. I have taken him a couple of Bolex' for maintenance, and one of his old Animation Controllers for repair, but recently he told me that he is officially retired. He leaves his site up "for informational purposes" as he says. He let me take this photo of him in 2018 when I brought in a camera. At the time he was working on an optical printer using some of his remaining parts stock: Google photo link So sadly, that's one less bonafied Bolex expert available to the world.

Pam Smith is selling one from, I think, France on Facebook.

This is maybe a better example:

Oh shit. I didn't know something had to be done. Oops.

@Steve Dunn I may have been shooting my example with the 10mm non-preset version, I'm not sure. I have one of each. If so, according to the info above about the difference in the two versions of the lens, that might explain why I have more vignetting in my footage.

It does cover Super 16, but like Volker said, there's a little bit of vignetting at the corners. This was an impromptu piece that I shot using a Switar 10mm (the preset version, if I recall) and a Switar 25mm. FYI, the levers tend to get broken off from the preset Switar 10mm :

Here's a couple amateurish Ultra-16 examples from myself, shot with a cheap Revere springwind camera with a widened gate. The first example is cropped and heavily stabilized: The example below is uncropped. Unfortunately when machining out the gate, a tiny burr was created and it's scratching off a bit of emulsion, which is building up in the gate. You can see edgecode between the perfs on screen left.

What a gorgeous, strange film! Beautifully shot.

Thanks for the link Simon! It reminds me of the Auricon gate with its bearings that help stabilize the film. I'm still dubious about the steadiness of the CKS, though, as the films that I have been getting scanned are mostly 2R and I see registration issues. Do you think it's odd that the film is sandwiched against itself as it passes thru the single sprocket on both the feed and the takeup side? Also, Simon, do you have any experience with the Eumig C16R? It seems to have the same problem as the Beaulieu R16 & Filmo, in terms of the miniscule base for mounting. I haven't worked with

Fabrice, I'm loving this topic and I'm so glad you started it, and made a good case for the Webo, a camera which I have long been curious about. I have dabbled with shooting through an anamorphic lens, but didn't want to spend a lot of money. So I picked up this giant inexpensive projection lens and rigged up the Bolex on a cheese plate, with rails and a big mount for the front lens. It works okay and I have even handheld this rig! This is just to show that anything is possible with the right rigging components. You also mentioned the Kodak Cine Special. I have been scanning fi

Seems like there's some information missing. If they wanted to shoot two or three perf, why didn't they just get the existing pressure plate anodized black? There must be more to that part of the story. Looking forward to viewing the movie on Netflix!