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Robert Lewis

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  1. Hello Jackson. I would advise you to contact Bolex International in Switzerland. They offer servicing of Bolex cameras and whilst there is a cost associated with sending a camera to them, I can thoroughly recommend the quality of their work. As you can imagine, you can do no better than go to the manufacturers of the camera. You will find them very helpful and if you contact them by email or telephone, you will be able to explain to them the issue which is concerning you and I am sure they will advise you. Relatively recently I had my Bolex EBM serviced and in conjunction with that I had an au
  2. My experience with 7222 is based on shooting film for projection which is what I tend to prefer being a fan of B & W. I have to admit I have no experience with film which has been scanned. That having been said, I mainly shoot in daylight. Whether I have used an external meter or built in meters as fitted in Arri SRIIs or Aaton LTR54s, both of which I use, I have always shot at 250ASA in daylight, and I have always been quite delighted with the results of my projection prints. So I stick with Kodak's recommendations metered appropriately. I do accept that scanning rather than projecting m
  3. I am sorry to say that you cannot use this lens on an EL camera. The lens is a C mount lens and the EL camera has a Bolex Bayonet mount. You cannot use a C mount to Bolex bayonet mount adaptor either, because the lens back plate will foul the dish shape of the adaptor. Apologies for the earlier non-sensical message!
  4. Wonderful news! I hope soon to hear that a 16mm stock is available. Black and White can be so beautiful.
  5. I am not sure that this statement is fair to Ferrania and those who are trying very hard to succeed in what must be a most difficult task. Just remember that when Kodak was abandoning those who wanted a colour reversible stock in all three gauges we needed (35mm, 16mm and Super8) those involved with the rebirth of Ferrania committed themselves to a task which has proven to be monumental. They committed themselves from the beginning to produce stock in all three of the gauges I have mentioned, whereas at this point in time Kodak have said little in the way of a firm committment to do the same.
  6. Having read, read, and read again, the announcement by Kodak, there does not seem to be anything in it which refers to specific gauges, part from Super8, in respect of which it is simply said that Kodak intends to market and distribute it directly. This might well be related to their plans for the production of their new Super8 camera and the supply and processing of stock for use in it. The reference to Kodak Alura seems to be specific in that it refers only to still format stock "for photographers in 135-36x format". Of course, "words" can be an imperfect means of communication, but it w
  7. My reaction to the content of the original posting is "Of course one is entitled to one's opinion, but that is all it is! ". Beyond that, what was said is valueless.
  8. Thanks Dom. I am just surprised that it has been said that Julian "has to focus at the correct stop- he's following a moving target.". This, of course is not so as I said earlier. As you say, a 25mm lens lens at f8 set to 10' will cover anything from about 6' to 25'. However, actually Julian said earlier that he is using a 16mm lens and so that lens set to f8 and 10ft will cover anything from about 4' to infinity, and it gets better. At f11, it will cover anything from about 3' 5" to infinity, and at f16 it will cover anything from about 2' 7" to infinity. So the upshot is that Julian
  9. I agree entirely. The point is that Julian said he was focusing at f8, and not opening up the iris to focus. My point was that if he was opening up the iris he would have a brighter viewfinder. That is why I suggested he followed that procedure. The point I made about using faster film was in relation to increasing the depth of field and so perhaps reducing the frequency of refocusing as his children moved about whilst being filmed within an increased depth of field.
  10. It seems you have your view, and I have mine. The lower the f number the shorter is the depth of field. A faster film would allow the use of a higher f number which would in turn yield a greater depth of field. This would mean one had a greater range in focus if the required f number was higher and so within that greater range there would be less need to constantly re-focus. It works for me and very well too. I didn't use the term "stop down". I referred to opening up the lens when focusing. Furthermore, I used the term "maximum brightness when focusing" not "increased brightness". You seem to
  11. Gosh Julian! With the constraints under which you are working, I can see that you not making life easy for yourself. Quite apart from the fact that you are using a slow stock, I have the impression that you are trying to focus at the correct f stop. I think you would find it much easier if you were using 250D, say, because it would give you a higher f level and that would, in turn, probably allow you to get maximum light into the viewfinder if you were opening up the lens to focus. It would increase your depth of field too so helping you film young children who, I suspect, are moving a
  12. Julian ... I have a difficulty in understanding why you are finding focusing your SBM such a problem. I have a Bolex SBM, and I do not experience any difficulty. Whilst you haven't said what lens or lenses you are using, I am wondering why you are trying to focus at f8. What one is advised to do when focusing is to open up the lens to it's maximum and then focus. That way you have maximum brightness through the viewfinder. Having focused, one should then close down the lens to the required exposure setting and all should then be well ... maximum brightness whilst focusing .... sharp fo
  13. Seth ... If you are referring to the standard metal black spools which Kodak and others use for 100ft rolls, these are a standard "daylight" spools which can be used on Bolex, Arriflex, and Aaton cameras, and very probably other cameras. They are quite different to those used on the Aaton a-Minima camera however, which was a special design for that camera and that camera alone, and cannot be used on other cameras. I have an Aaton LTR54 camera, and I can assure you that the standard black 100ft reels referred to above can be used in the LTR54 with no difficulty whatsoever. I mostly use thos
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