Daniel Klockenkemper

Your question is a little unclear; I can't tell if you want to compare U16 and R16 within the same workflow, or if you want to compare an U16 film -> digital -> 35mm film workflow to an all-analog R16 -> 35mm optical blowup workflow. For the former, you can see for yourself: https://vimeo.com/7091040 For the latter, optical blowups usually necessitate multiple intermediate copies before arriving at the final print. Though I like the look of the all-analog process, the reduced number of steps between camera negative and final print in a digital workflow is generally considered to preserve more of the detail present in the original negative.

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Matt, I own a Nizo 6080, and have used some of the Canons. The Canon S8 cameras seem more production oriented, with manual controls that are very accessible. The Nizo 6080 seems more geared toward documentary or ENG-type use. It's primarily designed for auto exposure, and the meter is very good in my experience. To do manual exposure, I get an auto exposure reading, then turn the exposure dial from "auto" to "fix". If I want to adjust the f-stop further, I can turn the dial to "man" and toggle between + and - while looking at the scale in the viewfinder. The exposure dial has a +1 button in the middle you can hold when you're on auto and point the camera at a backlit subject; there's also a +1 position on the dial to force the camera to overexpose by 1 stop constantly. So it's fussy but usable if you're trying to be in total control, but does a respectable job for run & gun shoots. It's very well balanced despite being on the heavier side (I think the capstan for sound recording makes up for much of the weight). It has a fold-down shoulder stock to make it easier to shoot handheld for longer periods. The cartridge area has 6 switches for compatibility with films notched from ISO 25D-400D, and from 40T-640T, so it's compatible with all currently-available films. There's also an exposure compensation dial next to the door for rating the film +/- 1 stop in 1/3-stop increments. It does have a built-in intervalometer with 2, 5, and 15-second intervals, which is a very cool feature. It also has a nice 7-80 zoom lens with a great macro setting - I can focus mine on dust on the front of the lens if I go far enough. The viewfinder uses a beamsplitter instead of being true reflex, so you don't see the depth of field (which is usually pretty deep anyway). It siphons off a little bit of the light that would otherwise go to the film; combined with the 220-degree shutter, exposures end up being 1/43rd at 24fps and 1/32nd at 18fps. That doesn't make for the sharpest motion, and might be too slow for some people. I have noticed some gate weave here and there. Though not bad at all, it doesn't have the incredibly steady registration that you'd find on the Nikons. It's very quiet for a S8 camera. The noise of the camera running would be drowned out by a few people talking, but it's not perfectly silent if you're recording dialog for a narrative film. It's comparable with some of the earlier quiet 16mm cameras, like an Eclair or Arri 16SR. The Nizo does have a reputation as being more delicate. Mine has survived flights overseas, inside its travel case, packed inside my oversize suitcase (which I checked, as it was much too big to carry on). I'm not pressing it into service nearly as often as you are, though, so I can't comment on its long-term durability. I also treat my equipment very well and never seem to have reliability problems with anything I own, so I'm probably not the most representative sample. One thing to note - I did have some difficulties using Pro8mm reloaded stocks when I tried them. I did happen to order the thickest stock Pro8mm reloads, and I think the stocks were wound too tightly in order to cram 50 feet into the cartridge. I've never had a single problem with Kodak cartridges. I hope that gives you a good impression of the Nizo. Personally, I like it a lot. It's a swiss army knife of a camera, and does a lot of things really, really well. It's the best if you need a quiet camera, but if some other feature is paramount, there are other good cameras to consider. Regards, Daniel

Gregg, Thanks for sharing this information. My ALC 2 has the late, mirror-parking motor; I don't know what the power draw is, but it reaches speed at 75fps in under 1 second with a 12v 4.6Ah NiMH battery pack, so I'd guess that the draw is under 4.6A (which is borne out by the figures you quote). With an old NiCad pack, the sync light never went off at 75fps. Regards, Daniel

Hi Maurizio, Thanks for the reminder. I just mailed my DVD and forms today, and you should receive it in a little over a week. Like Matt, I made a PAL DVD but don't have a way to test it, so please let me know if there is any trouble with it, as I can make a downloadable copy available as well. Best, Daniel

Does anyone have a spare Arri B rear cap they'd be willing to part with? Any type/brand will do so long as it's in decent shape; I'm not going to be picky. Thanks!

Wiki, I would encourage you to do a test to see if you like the look of the film in cropped R16. As David said, Reala 500D isn't the best film out there in many technical respects. I like it quite a lot for precisely that reason, though - interesting flaws are, well, more interesting than technical perfection sometimes. I think it could work for emulating an Aki Kaurismaki look. The important thing is to test the film under all the conditions you plan to shoot. Be sure to get a set of ND filters for shooting outdoors. I think the 500D looks great with uncorrected tungsten light, but that look may or may not be appropriate for your film. If possible, get a roll of each film (your top two or three choices, depending on how many magazines you have at your disposal), load them into separate magazines, and shoot the same scene on each stock, swapping the magazine after each take. Good luck. Daniel

Perhaps they were dichroic filters?

Who's a fanboy? On the whole, I've shot more Fuji than Kodak, and I started recommending the Vivid 500 pretty soon after it came out. My experience is in 16mm, though; perhaps you're accustomed to seeing it in 35mm? Mike: Interesting. So Kodak now has three 500T films - Vision 3 5219, Vision 2 5260, and this new 500T, supposedly a Vision 2.5. I'd be curious to see the results of your test, especially with regard to color reproduction and shadow detail. I'd like to know what they mean by calling it organic as well.

Are you talking about this? http://motion.kodak.com/US/en/motion/Products/Production/Color_Negative_Films/5230.htm I wasn't aware of this stock before; how new is it? The technical data sheet is dated March 2011. The Fuji Vivid films have been compared to the older EXR stocks by others; the Vivid 500T has a lot of grain, but it has an organic quality to it, so it's not as objectionable as you might think. (I noticed the new Kodak 500T claims to have an "organic look" and I wonder how much the 5230 is meant to compete with Fuji's Vivid stocks.) I find that Fuji's film stocks tend to render just a bit cooler than Kodak stocks, so if you go the Fuji route you might want to add a mild warming filter (though this is easy to correct in post too).

Thanks everyone for the replies. The person from whom I bought the camera said it was overhauled about 3 years ago and then left untouched in a closet. I have no reason to doubt his claim. The camera is very clean, and all the functions work properly. The squeaking would correspond to the lubricants drying up, which tends to happen to cameras after a few years sitting in a closet. Regarding maintenance, I think the truth is somewhere between Andries' claims and the rest. Mechanical devices are either designed to be maintained, or they are disposable. The Nizo is certainly not the latter, but it's not a British motorcycle either. Like anything else, the frequency of maintenance would depend upon how often it's used. I can only hope to use it enough that it needs a CLA once a year. :) Some of us are quite capable of doing such maintenance ourselves; I'm simply unfamiliar with this camera, which is why I inquired about the service manual. Robert, I'll be sending you a message soon.

Greetings. I was wondering if anyone has a copy of the service manual for the Nizo 4080 or 6080. I've acquired one recently, and all the functions check out, but it's a bit squeaky. I was hoping someone could advise me on a couple points: Firstly, what are the lubrication spots inside the camera, and secondly, what is the recommended lubricant? (The kit came with a small tube labeled "Vaseline, z. techn. Gebrauch" - for technical application - but I'm wary of gumming things up unnecessarily.) Thanks in advance!