Brian Rose

I suppose my problem is, I really like the Bolex because of its size and I have experience with it, and I am familiar with all the makes and models. So, is it possible, say with the EL, to shoot sound if I had a good blimp or barney? Best, BR

Expense be damned, what do you all think about resurrecting the three strip color process? Surely there must be some way with all the technology out there to devise a new three strip system that would be more practical and/or affordable. What I would give to see that come back! Best BR

Very interesting...what camera might you recommend for sync sound? What camera can be had for the best price? Best, BR

My quest on decidinng which Bolex to buy continues...Basically, I want to get a great bolex for grad school, and I have heard some great things about the RX5 (more options in terms of var shutter, hand crank film etc), but I was thinking, is an RX5 with a tobin motor good for sync sound, or would I need a massive blimp? Would I be better off just getting an EBM or an EL? Basically, what Bolex would you all recommend: RX5, SBM, EBM, or EL? Best, BR

All, I have decided, sometime this summer, to upgrade to an RX5. I have two choices of action, and I'm not sure what to take. The 1st option is, buying off of ebay. Here, I have a better chance of getting a package deal, say an RX with a Vario Switar and perhaps even a film magazine and a motor. However, there is the everpresent danger of Caveat Emptor. The other option is, buying from a reputable dealer. I have done business with Guy Bodart of cameraspro.com, and he sells, among others, RX5 models, but they run $1800 and are the body only. However, there is the security of knowing more or less that what I will be receiving will be good. So, my question is, which option is the best? Or is there a third option? Does anyone know of another dealer, who perhaps offers package deals. Ideally, I would like a camera with a Vario Switar, magazine, tobin motor, and a takeup motor. I would appreciate any help. Best, BR

Simple question for a budding Super 8 oficianado: I've looked on ebay for a good super 8 camera, and I've seen some brands like Braun Nizo, Beauleau (sic?) and Canon. Based on all of your experience, what are the best Super 8 cameras out there? What about for under five hundred dollars? I would love any help. Best, BR

What Vario means is "Variable" or "Zoom" Hence, a Vario Switar is a Zoom Switar lens. Means you can change the focal length, say from 11mm to 70mm, or something along those lines. Zoom lenses are not as sharp as primes, but most people never can tell the difference. Thank you for your help. I should have been more specific. I realize it is a zoom lense. What I was wondering more was the exposure controls. I had heard that it offers automatic or manual exposure, and automatic or manual zoom. Is this correct? does the lens offer anything else? Would anyone recommend I get a vario?

All, I've been looking on ebay for a Bolex RX-5, and often the camera's I've seen have come with a Vario Switar Lense. I've heard that these have some special controls, but I'm a little in the dark. Could anyone out there explain just what the Vario Switar has to offer? Best, BR

Well, for telecine purposes (and the best quality projection), the most popular projector is the Elmo, preferably with the new five blade shutter for flicker free projection and transfer. Check out ebay; there is always a five blade up for bids, and the prices are never too bad, a few hundred or so. Hope this helps. Best, BR

I'm planning on doing a documentary while I'm visiting Washington DC this summer. I'm usually a 16mm user, but for the amount of footage I plan to shoot, 16 is impractical. So, I need to get a digital camera. However, for my purposes, I do not need a top of the line model like a XL, GL or DVX 100. So, would anyone be able to recommend a good, workhorse type camera, one that could be gotten for under a thousand dollars, ideally less than 800? I would be most appreciative of any help. Best, BR

"I met this guy who wants to sell me his old bolex for what seems like a reasonable price, 85 dollars. I shot a roll of film and am waiting to get it back. I was wondering if anyone can offer any suggestions as to any sort of fatal flaws I should look out for. and where could i send the camera to be professionally cleaned and tuned up." I'm assuming by the title of your message that you know the difference between the reflex and the older H16 (Please don't take offense; to some, all Bolex's are Reflex's). That said, I would say for 85 bucks, you've got yourself a good deal. What is important now is to determine what model you have. First, locate the serial number (it can be found inside the film compartment). Then, go to this link: http://www.cylist.com/List/400300299/Bolex...el_history.html to find out what model you have. Essentially, the higher the serial number the better the camera. Except for the Rex-5. You should sell it to me right away! :) Since you've shot a test roll already, you've done the first step. Now, just wait to see how it turns out. Assuming that the stuff you shot was more or less exposed properly, and well focused, with a good Bolex you should have a very nice, jitter free image. As for a tune up, I would highly recommend it. Odds are that camera hasn't seen a mechanic in forty or fifty years (You've gotta hand it to the Swiss-their quality is superb!). A good repairman will probably charge in the neighborhood of several hundred dollars. A lot, but believe me it's worth it, not only because you will have prevented future problems, but if you decide to resell it, you can say it's been given a good overhaul, and you can attach a name to it. It makes a big difference in what people are willing to pay. As for mechanics, I have only used one myself, Guy Bodart of cameraspro.com He offers a wide range of equipment, and offers super 16 conversions. He's one of the best in the biz. He currently has a special: a complete lube job for 295. However, he's a very nice fellow, and is not entirely inflexible when it comes to pricing. Again, a stiff price, but it is worth it in the long run. Hope all this helps! Best, BR

All, I have a strange and frustrating problem with my Bolex Reflex. Recently, it has begun to eat up film, as in I hear the ominous crinkling sound, and when I open the case, film everywhere! But, when I'm at home, and I do a run through with an old test roll of film, everything works fine. Is there something with outdoors? I should note that in the field, I'm using single perf B/W (B-Wind, while my test roll is double perf. Is there an inherent danger with single perf? My understanding was that Bolex could take both. I would love any help. Best, BR

I agree with Ian. Plus shooting 400 ft loads with a Bolex is not really convenient. Why not go for an Eclair ACL II which you could use with your C mount lenses? You raise a great point, but I plan to stick with the Bolex at least for the near future. As much as I would love an Eclair or (gasp) an Arri, to get one would absolutely wipe me out. At least with a Bolex, I stand to have some money left. Besides, I enjoy the compact size of the Bolex. I mean, sometimes, I can just lose the 400 load and just shoot 100 ft. But I thank you for you suggestion! Best, BR

Everyone, I currently own a Bolex RX-1 (and it has been excellent), but I'm looking to upgrade to a better Bolex for grad school. But, I cannot decide between the RX 5 or the a model from the EL series (ideally a Mark III). I figure there are pros and cons for both. If I get the RX5, I can use my c-mount lenses I already own. However, I will have to spend money to get a bulky motor for camera. I won't have to worry about this if I get the EL, but obviously I'll need to get new lenses. Are there any other important factors that you think would be important in choosing between these two? Also, what is generally a smart price for these cameras? Guy Bodart of Cameraspro sells just the RX5 body for 1800, and an EL MARK III package for 4500. I have seen these items go for less on ebay, but how much faith do you all put in it? Best, BR

I have mentioned earlier that I am working on a feature film. Right now, I am still in production, but I am starting to test out different exporting methods. Frankly, it is a little overwhelming all the options I have to choose from. So, does anyone have advice for the best method of exporting footage from Premiere Pro? I do plan to burn my film to DVD when I finish, if that helps. I would greatly appreciate any help. Sincerely, Brian Rose

Here's a fun topic that I'm sure will provide some nice stress relief. What has been your biggest disaster while making a film? I will start. Recently, I was doing some second unit photography, and I was taking a light reading, when slowly but surely one of the legs on my tripod began to give out. I ran for it, but was inches too late. My 16mm hit the pavement with a sickenly crash, the force simultaneously releasing the cover on the magazine, and starting the motor, resulting in the enire roll of film being spewed out into the daylight. I should say I feel fortunate in all that I lost was a roll of film. The camera (a Bolex), emerged with only a few scuffs on the body and an odd squeeking noise when I run 8fps (but how often is than, anyways?). God bless the Swiss! Now, let's hear yours! Best, BR

I noticed your info says you're from KC? I'm from Shawnee. What a small world! Brian

All, I have Adobe Premiere Pro, and I want to export a five minute trailer of a feature I am directing. I want to use Mpeg2, so I can get the highest quality and still fit it on a CDR. But, whenever I export the video, it comes in two separate files, one with the video, and one with the audio. Does anyone know how I can combine them, so when I play the final product the two will be in sync? I would be grateful for any help! Sincerely, Brian Rose

Whenever I try to export a film (usually a short clip of 5 to 10 minutes, Mpeg2), about mid to two-thirds of the way through, the process shuts down, and I get a message that says (to the effect) that Adobe missed a frame and had to shutdown. Has anyone else had this problem. Does anyone know of a solution?

This isn't quite what you're looking for, but recently I had Guy Bodart of Cameraspro overhaul my Bolex, and he did a superb job. That's my two cents. Hope it helps! Best, BR

And I completely forgot: the scene I'm shooting involves a candlelight vigil, so there will be 15 or 20 people, each with a candle. Just thought I should add that, as I'm sure that'll make a difference. Best, BR

For my feature, I need to shoot one scene at night. I've got Vision2 500T stock, and though it is a night, I will be shooting near a well lit building, and several street lights. That said, does anyone who has shot stuff under conditions like these have any tips they might find useful. I'd love to hear any input. Sincerely, Brian Rose.

All, I am shooting a promo film for my university on my Bolex rx1, and once spring rolls around, I plan to get some exterior shots. For maximum scenic value, I plan to shoot in the day, so I'll have plenty of light. That said, which color stock (negative or reversal) do you think offers the best color range and tonal saturation? I would appreciate any help. Thanks! Best BR

All. Got an email from Mr. Bodart. I no longer require any help, but thank you all anyway for reading my message. Best, BR PS: Mr. Bodart's services are excellent, as are his rates. A top recommend!

Hello All I am a student filmmaker, and recently, I sent in my 16mm Bolex rx-1 to Guy Bodart of Cameraspro for repairs. He received my camera, made the repairs, and I sent payment, via pay pal. That was last wednesday. Since then, he has not answered any of my emails requesting a tracking number. Usually, he answers the same day, the next at the latest. Has anyone done business with him? Is he slow to send cameras out? Is he busy? I understand that he does direct films, in addtion to camera repairs and modifications. Does someone know him? Am I getting worried too soon, or have I been scammed? I would appreciate any help. Sincerely, Brian Rose