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Everything posted by Simon Wyss
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Is there any trick to cleaning a Bolex eyepiece lens?
Simon Wyss replied to Al Debruin's topic in 16mm
Push the whole group out with a drift pin. -
Yeah, if I had to build that camera, I’d take an H-8 and replace the front by an H-16 one. The aperture plate would be a 16-mm. without the support ridge in the center. Then add a mask for this wide-frame format.
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The combination is an H-8 with an H-16 front. The sprocket drums are identical.
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Although you are a professional cameraman I must presume one last thing, light coming from the eyepiece. Hit?
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That is possible. Questions that I’d want to answer with the camera before me: is the anti stray light baffle in place in front of the ground glass, are the aperture edges blackened, is the shutter rim blackened, is the lens’ mount rear matted?
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Bolex lens focusing problem with eye-level focus (non-reflex)
Simon Wyss replied to Robert House's topic in Bolex
I’d say that the two lenses got opened at some time and not adjusted properly. If you want to improve on it yourself: Loosen the three set screws in the focusing ring, just loosen each by about half a turn, then turn the focusing tube with your fingertips until image appears sharp in the finder (on whatever distance you like, infinity is best, the horizon for instance), and bring focusing ring with that distance on reference mark. Finish by tightening the screws back. Shorter distances are a bit tricky due to the personal hypofocal or hyperfocal view. You need to see the ground surface tack sharp. -
Correct, a modified old H-8. Ultra 8 means image full width between hole rows, regular height, film never slit.
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The sturdiest spring-drive 16-mm. film camera that I know is the French ETM-P, models A/B/C. One wind pulls through 1,280 frames. Its specialty, if I may introduce it here, is that the finder tube can be pulled out from the camera just like that. The tube contains the magnifying and the ocular elements. An optician can increase magnification by changing the glass. Through it you see the image on a fine ground glass for critical focusing, the same system as Bell & Howell Filmo 70-D ff., Paillard-Bolex H or the Victor 3/4/5 use. The mechanism should be winterised: complete disassembly, cleaning, application of a dry powder lubricant such as Molykote or graphite, and reassembly. Lenses need to be winterised as well. Do get yourself a geared head that can be well maintained, with fluid heads you may run into trouble.
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My advice is to hand the lens over to a serviceperson who dismantles, cleans, and lubricates correctly. Pouring in some oil will not remove the sticky grease resin from the threads.
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70HR/KRM info, instruction manual, tips
Simon Wyss replied to Philip Forrest's topic in Bell + Howell
The film seems to be pulled from the upper feed roller. See that everything turns freely on the magazine feed side, especially the film roll itself. Perhaps the sprocket guide fits too loosely also. -
70HR/KRM info, instruction manual, tips
Simon Wyss replied to Philip Forrest's topic in Bell + Howell
Transport failure, camera needs investigation by a technician. -
Why not shoot video and film out eventually? Nice spliceless prints can be had that way for crisp projections.
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70HR/KRM info, instruction manual, tips
Simon Wyss replied to Philip Forrest's topic in Bell + Howell
Only if overstretched. Basically, these are simply long pull springs, the ends hooked (better close-bent) together. Mostly made of patented wire (drawn fast and air-hardened). The proof is simple: relaxed the windings should be in touch, a closed coil. I am quite sure that some can still be found. Might be worthwhile to call Magna-Tech of Miami. https://magna-tech.com/ -
70HR/KRM info, instruction manual, tips
Simon Wyss replied to Philip Forrest's topic in Bell + Howell
I think you’ll have more luck finding Filmo 70 magazine spring belts than me in Europe. At total failure a spring factory can make you those. -
Cinema Products
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Should very much like to help you with it. Have a look at my website, if you please, to be found with my profile.
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You’re not ADD, you’re DDT.
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NEW ORWO STOCK - TEST RESULTS
Simon Wyss replied to Ludwig Hagelstein's topic in Film Stocks & Processing
What pride jumps off that label! -
Camera Adjustment necessary when switching from 35mm Color to BW?
Simon Wyss replied to Alexander Boyd's topic in 35mm
It’s Abel Cine, isn’t it? The difference between jams and none may be that negative stocks are perforated short pitch and reversal films full pitch. An LTR claw pushes onto the hole edge at a very narrow angle. With long or full pitch stock you would have to adjust the claw stroke length which is not possible. -
Camera Adjustment necessary when switching from 35mm Color to BW?
Simon Wyss replied to Alexander Boyd's topic in 35mm
No adjustment necessary. -
Yeah, the tension. Mind you, that motor was made for 220 Volt, yet we have 230 Volt. Just of late I had someone here with an Arriflex 16 SR II and an old, half-melted charger. It gets dangerously hot. Why have you fallen for the WEBO M?
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Just for clarity, you mean a Pathé WEBO M, don’t you? There are various electric motors, the torche ones, a big one made in Germany, others from France. -What watch? -Ten watch. -Such much?