Simon Wyss

Not so cool with me, I see squeezed-together images. Oh, now they're coming alright when I open on a new tab.

I suspect the film stock to be overdue. Hast du altes Material zusammengekauft?

Mr. Nevskii is not right with the Sept by FACT-Debrie. That is a true cinematic camera. It even has a pair of register pins in the same position as a Mitchell has. The Sept has a conical two-blades shutter and a lens bayonet. It takes five meters of film, enough for a 15 seconds shot.

Yes, the rollers can be swapped for a pair of single-sided. A technician should do that for you. The rollers can be found on internet marketplaces, with Bolex repair people or by taking them from a camera that’s sold cheaply for parts. You will retain the double-sided rollers for the day when you want to do some trick work on film perforated both edges. Your camera is at least 70 years old now, dating from 1952 or before. Maybe you’re inclined to give it a thorough service. In case you decide so I’ll gladly help.

A RX-5 has the auto loop formers release.

Not necessarily There are two types of brake pads, the older bigger ones and the younger tipped. I have experimented with many examples, removed everything several times, cleaned between oil, greases, and graphite. Oftentimes the governor needs to be dressed, the wire springs, the flyweights in their lugs, even the helical threads may cause trouble. I think at that point only an educated mechanic knows how to take care of that part of the gear train. But there’s more to an H than the laymen believes. I have found an almost dysfunctional clutch group just lately on an H-16. In ordinary running mode under spring energy no problems but when the spring was disengaged the mechanism was hard to turn. That took some work.

Con piacere

Somebody had the front removed and put back without knowing what can happen, this. The shutter and the claw cooperation is off.

The other camera is in good shape but I returned both declining further work. The client accepted my decision. He wrote he thinks I was very close to solving the problem. He didn’t quite understand. So be it published for everybody dealing with the Beaulieu News 16: There are no spare parts tangible. Those from the parts example were more or less unusable. The rubber coupling has an intricate form. In addition I’d have had to find a suitable torque strength of the friction clutch. The camera isn’t quiet. The ratchet claw ticks. Quite a difference to the older Eclair NPR. For example Lateral film guidance is not compliant with ISO 466. That standard is vague OTOH. With the exception of the French camera manufacturers most makers followed Bell & Howell, RH reference edge, pressure on LH edge. Yeah, Paillard inverted lateral guidance in 1954. Does it show? Sometimes

Two aspects of crucial mechanical elements stand out. Size. To give a friction clutch or any other coupling the dimensions it needs is important. Larger areas or surfaces allow better control of forces. I think this is obvious with the Beaulieu News toy thingy. Accessibility. I did find a way to remove the motor group without having to desolder one electric line but the rest of the mechanism is still hidden packed. I dream of a camera that opens like the door of a fridge.

Why should I? No. The chain of forces needs to be known. In the case of the Beaulieu News we have additional drag from the COMMAG module. The take-up friction is decently designed. Another factor is how fast do we wish a mechanism come to speed. A 35-mm. cinema projector on which the film accelerates the sound drum flywheel can speed up over three to six seconds. A camera often should expose the first frame already (almost) equally short as the following. It’s a balance question of film mass, mass of the moving parts, and overall performance. The Ercsam Camex has heavy weights on the governor. It therefore takes two to three cycles to speed up and 32 fps is top speed but it acts very smoothly. The relatively lightweight governor of a Paillard-Bolex H camera spins up within the first cycle. The high-speed governor of the Bell & Howell Filmo 70 is still faster. With little mass, see the Leicina 8 S, you have a lightning fast start. An Arriflex 765 in which you have 2 kg of wide film can’t do that.

What a primitive friction clutch. It consists of a spring and a flat washer between the steel bush, second from left, and the C clip. I don’t have a specification on the torque it should hold but from feeling it’s too weak. The steel bush within the black anodized group body is pressed in. In its bore sits the smaller ball bearing. The bigger ball bearing is held on about a quarter to a third of its length by the black plastic ring, second from right. A strange affair, I must say. According to Marcel Beaulieu the project dates back to 1966 or 1967.

The EL is mechanically much less worth than a spring model. A doorstop without electricity EL body alone in my eyes US$ 300 to 400 max. without any warranty

Nothing happens cinematically. You don’t tell with pictures. Without the sound it would be boring. I can understand the decision.

One useful thing for travellers is a clamp support.

Fellow filmers, here’s some reading. Regards https://drive.google.com/file/d/1WeX3jtAe3FU-qUJw_9yysPU90XY6MPw1/view?usp=sharing

Amidst my first case of Beaulieu News 16 I’d like to share my fresh insight. A client has sent me two examples, one for spare parts. The mechanism of both doesn’t budge. The motor spins. After four hours of ruthless disassembly of the parts example, I cut all the electric lines that ought to be soldered off correctly, I have come to the conclusion that this is the worst 16-mm. camera by far. The fastest moving parts, that is the motor coupling, the friction clutch behind it and the speed sensor, form the innermost group. One has to dismantle everything in order to separate that group. A fresh rubber coupling? Friction parts? I don’t know where to procure. The problem with the present examples is that no spare parts are useable, they’re all totally rotten. The speed sensor grinds. It is impossible to lubricate anything of the gear train or a bearing from the outside. These were just made to make money. Today, more than half a century later, the remaining Beaulieu News are dying. Mechanics always come first, then optics, then everything else. If somebody wants to endeavour a thorough service, s/he better prepares to at least a grand in cost, at least with me. On the photo I’m showing the motor receptacle. To the left of the gear is the clutch, on the right would sit the sensor.

You have fresh colour films in Double-Eight, Ektachrome 100 D, Vision3 negatives, and print stock. Dennis Toeppen, Daniel Wittner, FPP and others are active there. Alfred Kahl in Germany has offered 2 x 8 mm colour stocks, remnants of which are still for sale.

Yes. What is it that attracts you with Bausch & Lomb?

You won’t like this. Series II and III were made in times when people cooperated, you know what that is? They worked together, hand in hand. The Kinetal line of 1959 is from a different time. Humanity was already on the ever accelerating social downchute, first of all, however, no longer respecting the other. Believe me, I am one of the damned generation (1958 to 1972), I know about BS and how it’s sold. So, although older than the Kinetal the older series can perform better because they were made more carefully. Simple as that

The 15 mm Baltar is the same design as the longer focal lengths. If you refer to the one offered right now on ebay, it’s a fixed-focus lens, maybe not what you’re looking for. Which camera are you using?

The Bausch & Lomb Baltar formula is a Zeiss Biotar variant, Merté’s six-elements design of 1927. Zeiss made it as f/2.0 and f/1.4. Wollensak, dependent on Bausch & Lomb’s optical glass manufacture, built the f/1.5 Velostigmat from 1928 on. Meyer had the Kino-Plasmat f/1.5 since 1926. So there were a number of six-elements double Gauss lenses on the market after the first asymmetric Planar descendant that is named Opic, 1920 (f/2.0). The symmetric Zeiss Planar is from 1896. A 15 mm Baltar is a wide-angle system for 16-mm. film. It was a surprise in its time because wide angles used to be three- or four-glass. The value today will be estimated by the image it delivers and that depends mostly on whether the lens is bloomed or not.

Push the cores out the winds and save them, can be used again. Give the rest to the waste collection. You will feel relieved. Is it this you wanted to read?

The thread title comes like a newspaper headline. Shoppers Rush Before Shoe Ration Coupon Expires Maybe I’m annoyed because I’m closer to people who have fled from a war, to this country also. If you wanted to allude to war, it worked. I got hooked by 1943. If it’s about photography, I don’t follo. If you wanted to bring up today’s madness of millions of packages sent around because (mainly) women return shoes and clothes they don’t like, you wouldn’t say anything in that respect. It’s perhaps the vanity that goes on my nerves. Maybe it’s the childishness to simply throw something out in wait for reactions. I am an old-fashioned, grumpy, mean retard from before computer age. Now we have both explained ourselves.

Daniel, you are certainly a nice fellow but, if you please, cease posting things like that that have nothing to do with cinematography. What’s the purpose of this?