Ray Noori

Might be the same guy Dave! I can't find it, do you have a link?

Maybe he was missing a zero in the post for real, that's why I was wondering how much they are actually worth. $4000 a piece though? Isn't that a bit steep? He's a guy from work, we have a company-wide classified system. You can PM me your e-mail address and I'll pass it on to him if you like?

Thanks Nick. I went through all the posts you linked me to, as well as a few pages on Google. It's a very interesting camera. I'm still curious as to why it didn't catch on that well, the weight might have been a big factor. Either way, as curious as I am, I don't have $800 to drop on two cameras I don't badly need. I'm fine with my Rex-4 for now! :)

Some guy had posted an ad in a local online classified for "Two Bolex 16 Pro" cameras. I asked him for more information and picture. He said he didn't know anything about cameras, but he sent me the pictures that I've attached. These look nothing like any Bolex I've seen before! The only thing I could find on them was this little tidbit on Bolex Collector in the FAQ: "Q: [2.5] Why isn't the Bolex 16 Pro featured on this site? A: The Bolex 16 Pro was a professional camera designed for television news coverage and studio work. As such, it's a little beyond the scope and purpose of this website (which is mainly to feature cameras designed by Paillard Bolex for the amateur market). That doesn't mean many of the cameras listed here weren't used professionally; indeed, the H models were. " Anyone know what these cameras are all about? When were they made? Why are they not common? How much are they worth? As usual, any information would be greatly appreciated!

Thanks for the response Will! And for the record, both my girlfriend and I did indeed say "ahhhhh.....that's cute!", before even reading your remark about that! I'm almost done shooting my first role of 50D, I will be dropping it off at the lab on Tuesday, I'll have to wait and see what the results will be like. I shot in the morning, between 10 and 12, on a fairly sunny day, with snow on the ground, reflecting a lot of light. I'm crossing my fingers that I did the light readings right, otherwise I've got a whole role of overexposed film on my hands! :blink: You learn through mistakes, right? Thanks again for all the help. Next up is the Double-X. I'll let you know how it goes!

Karl, I appreciate what you were trying to do, but that's not how it came across, at least not to me. My intent was not to slander your name, or stab you in the back, and if I have done so I apologize and ask moderators to remove the post in question. I applaud the fact that you have been explaining concepts like F-Stop on this forum numerous times and I hope that you continue to do so, this forum needs experienced, knowledgeable individuals like yourself. If you choose not to help me in the future, I will have to respect that, my loss. However, I hope other newcomers to the field can use your expertise.

Matthew, I've been on this forum for about 2 months now, since I decided it was time I tried my hand at cinematography, after years of videography. In these two months I have gotten help, advice, and general tips from numerous advanced and sustaining members about any number of topics: what camera to buy, how to light, which stock to use, etc. The mean-spirited, self-absorbed, and frankly dumb response by Karl Borrowski is not at representative of how I've seen this forum work. So don't get discouraged. There's a wealth of knowledge here that can complement what knowledge you're already gaining from books and practicing. David, Bobby, Thank you so much for your insight and patience. I have now finished my first roll of 50D and once I get it transfered I will definitely post it here. Thank you again.

I'm about to embark on my first film-shooting with my Bolex H16 Rex 4 16mm camera and a Sekonic L-358 light-meter. I have just received the four different types of stock I had ordered from Kodak today and I'm trying to match the stock with a fitting filming situation, any advice would be greatly appreciated! 1) Kodak Vision 2 50D 7201 Slow daylight stock. But how much daylight would I need to shoot outdoors? Out in the countryside to be precise. I'm planning on shooting at dusk and dawn, is this stock too slow for that? 2) Kodak Vision2 250D 7205 Faster than the 50D stock, so maybe this one is better suited for the dusk and dawn situations? Or cloudy days? For both this stock and the 50D, is a daylight filter a must? 3) Kodak Vision2 500T 7218 This is the fastest stock I have. It's tungsten stock, but I'm actually hoping to use it outdoors at night with minimal artificial light (more or less just street lamps as a light-source). Is that feasible? Would the picture be way too grainy? Would I need a filter? 4) Eastman Double-X 7222 The only b&w stock that I bought. I was hoping it would be versatile, since I want to use it to do both shooting outdoors in the city and indoors in high-contrast lighting situations. Any tips? I appreciate any help.

I'm about to embark on my first film-shooting with my Bolex H16 Rex 4 16mm camera and a Sekonic L-358 light-meter. I have just received the four different types of stock I had ordered from Kodak today and I'm trying to match the stock with a fitting filming situation, any advice would be greatly appreciated! 1) Kodak Vision 2 50D 7201 Slow daylight stock. But how much daylight would I need to shoot outdoors? Out in the countryside to be precise. I'm planning on shooting at dusk and dawn, is this stock too slow for that? 2) Kodak Vision2 250D 7205 Faster than the 50D stock, so maybe this one is better suited for the dusk and dawn situations? Or cloudy days? For both this stock and the 50D, is a daylight filter a must? 3) Kodak Vision2 500T 7218 This is the fastest stock I have. It's tungsten stock, but I'm actually hoping to use it outdoors at night with minimal artificial light (more or less just street lamps as a light-source). Is that feasible? Would the picture be way too grainy? Would I need a filter? 4) Eastman Double-X 7222 The only b&w stock that I bought. I was hoping it would be versatile, since I want to use it to do both shooting outdoors in the city and indoors in high-contrast lighting situations. Any tips? I appreciate any help.

Thanks a lot Buddy, this seems like exactly what I need!

So after familiarizing myself with the Bolex H16 Rex 4, my first 16mm camera, and buying some film stock from Kodak I'm ready to embark on my first film shooting experience. Except, I'm not sure if I'm loading the film correctly! A friend of mine gave me some dummy tape to practice on. The camera manual is quite vauge, so I've had to guess for a lot of things and I wanna confirm that what I'm doing is right. Does anyone here actually own a Bolex H16? Here are some pictures of what I'm doing: 1) This is the general path that the film travels after I've loaded it http://img106.imagevenue.com/img.php?image..._122_1058lo.jpg 2) This is me finishing the loop by putting the film through the second sprocket http://img199.imagevenue.com/img.php?image...t_122_218lo.jpg 3) These things I'm really quite confused by. I need to move them in the direction of the arrows in order to get the film to go between the sprockets and them, as shown in the second picture. Yet, they don't seem to move that much and it's quite difficult to get the film to go in between without man-handling it: http://img19.imagevenue.com/img.php?image=..._122_1090lo.jpg http://img131.imagevenue.com/img.php?image...s_122_549lo.jpg After I've done this and the end of the film is inserted into an empty spool, I can run the camera and the film seems to run smoothly and fine. Now, even if I am doing this correctly, it seems like a very involved process to perform in complete darkness! :blink: I appreciate any help or insight.

So after familiarizing myself with the Bolex H16 Rex 4, my first 16mm camera, and buying some film stock from Kodak I'm ready to embark on my first film shooting experience. Except, I'm not sure if I'm loading the film correctly! A friend of mine gave me some dummy tape to practice on. The camera manual is quite vauge, so I've had to guess for a lot of things and I wanna confirm that what I'm doing is right. Does anyone here actually own a Bolex H16? Here are some pictures of what I'm doing: 1) This is the general path that the film travels after I've loaded it http://img106.imagevenue.com/img.php?image..._122_1058lo.jpg 2) This is me finishing the loop by putting the film through the second sprocket http://img199.imagevenue.com/img.php?image...t_122_218lo.jpg 3) These things I'm really quite confused by. I need to move them in the direction of the arrows in order to get the film to go between the sprockets and them, as shown in the second picture. Yet, they don't seem to move that much and it's quite difficult to get the film to go in between without man-handling it: http://img19.imagevenue.com/img.php?image=..._122_1090lo.jpg http://img131.imagevenue.com/img.php?image...s_122_549lo.jpg After I've done this and the end of the film is inserted into an empty spool, I can run the camera and the film seems to run smoothly and fine. Now, even if I am doing this correctly, it seems like a very involved process to perform in complete darkness! :blink: I appreciate any help or insight.

Rick, Michael, Richardson, thank you so much for your insightful and prompt input. I'm sorry I didn't respond earlier, I was dragged off to Hong Kong for the weekend and didn't have much time to get to the board. What it also meant was I missed the boat on most of the cameras I had listed! But it's no problem, I think opportunities come along thick and fast and what I needed to get out of this was a deeper knowledge of what I want in a Super 8 Camera and which cameras have them. Thank you all once again for your invaluable advice. Once I set my sights on another few cameras I'm sure I'll be back for advice. Regards.

Rest of the pics.

Rick, I totally agree with you, the only reason why I regretted not buying the 514 XLS is because it was only $30 and I could've had it around until I got something more substantial. I paid around $14,000 for the DVX and an extra AB battery set. Michael, I looked at the Bauer Royal 10 E makro you had linked to in your last post. Quite interesting indeed. I have tracked down a few possible options and hope to make a decision soon: Bell & Howell 2143XL ($25) Comes with a f1.2 8.5mm - 24mm lens. I can't track down whether or not it supports manual exposure. Canon 814 Autozoom ($100) Comes with a Canon zoom lens f1.4 7.5-60mm. It supports manual exposure as well. Weighs quite a bit though, at 1.5 Kg. Bauer C3 ($80) Bauer Vario lens f1.8 10.5mm - 32mm. It's auto exposure though, and expensive considering that. Also, I don't believe it shoots 24 fps. Sankyo EM-30XL ($40) This one also doesn't shoot in 24 fps I believe. The shutter degree is advertised as being 220. Manual exposure supported. Rather light. Sankyo lens f1.2 10mm - 30mm. Elmo 1000S ($25) Has Elmo zoom lens f1.8 7-70mm. Shoots at 24 and 18 fps. Manual exposure supported. It weighs 2Kg though! Nikon R8 ($140) Quite expensive, but it's advertised as brand new old stock. Comes with Nikkor lens f1.8 7.5mm - 60mm. Supports manual exposure. Bell & Howell SoundStar 4 XL ($25) It's advertised as having a wide angle & a telephoto lens. Shoots 18 and 24 fps. Has B&H f1.3 8.5mm 34mm Macro Zoom Lens. It's autoexposure though :( I've attached a few pictures. I'll attach the rest of them later tonight.

Michael, Fabrice, thank you both for your very helpful responses. I passed on the 514 XL-S, even when the person dropped the price down to $30, and now I regret it somewhat. But I agree with Michael, I was going to buy a camera that looked good and seemed to work without fully realizing what I would need in a film camera. I have been reading through the suggested threads and articles and ramping up on my shooting on film knowledge. Once I feel a bit more confident I'll start looking around again for good deals on a Super 8 camera and start experimenting. Fabrice, I've been shooting intensively on HDV with a Panasonic AG-HPX500. I'm quite used to manual focusing and things like that. What I'm not familiar enough with and I would probably find most challenging is exposure: choosing the right film stock, using the light-meter properly, lighting my scenes, calculating f-stops, etc. I'm trying to read up on how to do things like that. The weight of the camera shouldn't be an issue, but I do need to get a tripod.

Hi. I'm new to film cinematography, I've done most of my work up to now on DV and HDV. I'm trying to make the transition to film by moving to Super 8mm and looking for a camera. A friend of mine has found a Canon 514 XL-S, which appears to be in excellent working condition and is in a near-mint cosmetic condition, for $50 negotiable. It also comes with the BM70 microphone. Is that a good starting point? Is the price fair? Also, I have been told that Kodak Super 8mm stock has been discontinued for almost a decade now. Is that true? If so, what is a good source for stock? I have seen sealed stock being sold on eBay, but how long does Super 8mm stock last? What conditions do they need to be kept in? Thank you all for helping me with these first steps.

Thank you so much Justin!

Hi all. I'm a beginner in shooting on film, just bought a Bolex Rex 4 16mm camera and have been experimenting a lot. I'd like to transfer the results to digital for editing in FCP. Does anyone know of a place in Toronto that does that for 16mm film? I appreciate your help. Wickerman

Hi all. I'm a beginner in shooting on film, just bought a Bolex Rex 4 16mm camera and have been experimenting a lot. I'd like to transfer the results to digital for editing in FCP. Does anyone know of a place in Toronto that does that for 16mm film? I appreciate your help. Wickerman

Hehehe, glad to hear that! :) Once again I want to thank everyone on this board who helped me understand what I was buying and learn so much. I know that this is just the beginning and I have an ocean of things to learn, so rest assured I will be bugging all of you with more questions in the coming days! :) Thanks again.

Thank you very much gents. The seller claims that the wind is strong and consistent right up until the end, so hopefully I will get good results with it. After much banging heads with the seller I finally bought the package for $470. Considerably more than what we had first discussed, but he said he had other offers and was ready to walk away. Anyhow, do you guys still think that is a fair price for the Rex 4?

Thank you so much for your detailed and extensive answer Chris! I just finished reading the chapter on exposure in Cinematography: Theory and Practice by Blain Brown, which was also helpful. One more question though, and once again I hope you forgive my ignorance: the thing you explained about the spring powered action, does that mean unless I modify the camera with a motor I won't be able to shoot for more than 20 seconds at a time?

One last question about the camera before I get back to the seller tomorrow about whether I want it or not. How is the Rex 4 powered? Is there something in terms of batteries or chargers that I need to make sure is included in the package? By the way gents, I have attached a few pictures of the package the that seller sent me in this post, I would appreciate any final comments or suggestions before I go to the seller tomorrow. Thank you all once again, everyone here has been amazingly helpful.

I'll definitely get my friend to show me how to use a light meter and I'll keep an eye out for one to buy for myself. You mentioned that with the Rex I won't be shooting at 1/60th sec @ 24fps like most cine cameras? How does this fact affect the result that I get when compared to other cine cameras? Ray