Mister X

You may want to contact Guy Bodart, first, on how long it may be for him to do the conversion. I've sent him my RX-5 for conversion to Super16, several months ago, but have not received it back, yet. He may have a backlog of work to finish due to an illness. Fortunately, I've gotten an RX-1 to work with, that was already converted by him.

Presently, Roger Sharland, (first-camera @ eBay), is offering a Bolex RX-5 body, with a starting bid of US$599.99. He's checked it out and serviced it, too. I'd recommend him as a reputable dealer. The item number is 7509062224. And, Clive Tobin occasionally offers his equipment on eBay and has combined a shipment from an eBay sale with other items from his catalog for me.

Try here: http://www.intervalometers.com/pdfs/2003-bolexb8.pdf Or, if you have the Bolex D8L, try: http://www.intervalometers.com/pdfs/2003-bolexd8l.pdf

Photosonics appears to me to be the best product. The company is still in business, has super 16 conversions, and can service your camera, (if things go wrong). And, with a c-mount, one might use the same reflex lenses on one's Bolex RX-5. I've been looking at them, (with thoughts of capturing some swift fencing movements on film), and see them occasionally listed upon eBay, (Caveat Emptor). Check out: http://www.cameraguild.com/php/phorum/read...f=1&i=117&t=117Photosonics

I own one with serial no. 1065. For a description, see: http://www.bolexequipment.com/UnderwaterHousings.htm

Anyone else, here, experience the "Labyrinth" at Expo 67? When the National Film Board of Canada tried breaking out of the little box, (epitomized by 4:3 frames), the grand experiment was the construction of a theatre to fit the film's content, often accomplished by the use of multiple projectors. Something happening on one screen might move to another screen, rather than use editing or reframe the shot to capture the movement. The process was not without its flaws and a more "seamless" approach was sought; thus, IMAX was developed. The problem with IMAX is that it is theatrical in its scope, (not cheap, not easily broadcast, and not as affordable to the general public as those little boxes).

"Red velvet curtains," (punaista samettia verho)?

When I first saw $7,000 being bandied about as the budget for "Primer," I thought that "something's wrong here." How does one make a feature film for under $10,000? I got a quick lesson on how the "budget" was calculated upon what was spent in its "production" costs and how this did not necessarily include "post-production" costs; hence, the budgets for "El Mariachi," (1992), and "Primer," (2004), were $7,000. If using very cheap film and making a "screener copy," (before someone else spends money upon it), entitles one to say the film's budget was only $7,000, I figure that it won't be too long a wait to hear of zero-budget features made with borrowed DV cameras and tapes left by Santa.

If the serial number is around 107,000, you undoubtedly have an 8:1 shaft. Tobin says that he's planning on making a TXM-26B motor available around the beginning of March, which can be used for either 1:1 shafts or 8:1 shafts. I have only seen "winding handles" offered a few times during the past year on eBay, by themselves. You could buy a new replacement from Bolex, in Switzerland, for about US$70, (probably what a repair shop is using as an estimate); but, any old Bolex H-16, (before serial number 186925), could be used. You might find an old Bolex, (serial number 100,400 or less), which is only good for parts, for less than US$50, on eBay. Be careful that you order a "winding handle," (rather than a "backwind crank" or "backwind handle," which only moves the film backwards), for winding up the spring motor.

Check out the Library here. There's a manual for the Bolex EBM , as well as Arri equipment. What are you looking for? There's lots of different Bolex manuals.

I'm not aware if their Vario-Switar lens conversions might offer C-mounts or cameflex mounts suitable for the ACL, but you might ask JK Camera.

I've also recently purchased an Eclair NPR and have been thinking over the same questions. As I see it, Ultra 16 is something like Betamax. It allows you to use both single and double perf films, maintains the same center of frame whether standard 16mm or Ultra 16, and allows you to use almost any 16mm lens without much worry of vignetting. The problem is that Super 16, (like VHS), has become the dominant system; so, you pay more, (and submit to the Super 16 conformity), or suffer the consequences of looking for post-production facilities that will accept a "non-standard" format. Recently, Guy Bodart at Cameraspro asked me to reconsider my request to convert my Bolex RX-5, suggesting a Super 16 conversion rather than to Ultra 16. I've accepted his advice on this. And, remember that a Super 16 conversion of film magazines can be costly, too. However, I still think that Ultra 16 does have some advantages. For example, I've also acquired a Bolex RX-1 with an underwater housing, (which uses gears to control a preset Switar 10mm lens, the HAMAR product code). Can this lens be used for Super 16? I'm not sure, but I'll also do a test with my converted Bolex RX-5. And, I want to explore this further by adding a Century 6mm adapter onto this Switar lens. Ultra 16, a 6mm lens adapter, and a CC30R filter behind the lens might offer an extraordinary "fish-eye" view. Having two MOS cameras with lenses that can be interchanged with a sync-sound camera should also be a real advantage; but, I'm inclined to convert a NPR or an ACL to Super 16, rather than Ultra 16, (for more practical post-production reasons).

The Bolex "400 Ft. Magazine" manual recommends using a darkroom for loading the 400' magazine. The alternative would be to load the magazines in the darkroom, (or changing bag), in advance, and to feed a loop of film thru the camera manually. You can get both the EBM and "400 Ft. Magazine" manuals from www.mugjoint.com for US$19 plus postage.

The Kern (Switar) lenses marked with RX can be used on both reflex and non-reflex Bolex cameras; and, with focal lengths of 50mm or less, Bolex reflex cameras should use lenses marked with either RX or DV. The AR marking on Kern lenses indicates an "Anti-Reflection" coating on the lens. As for the Eclair ACL, I don't have that information.

To quote from Andrew Alden's "Bolex Bible": "All the originally specified Kern lenses for the reflex H16s are usuable on Super 16, with the exception of the 10mm Switar wide-angle lens and the 86, 86EE and 86OE zoom lenses. The POE 16 to 100 zoom lens can be used with restrictions on the short focal length of the range, the PTL can show 'port-holing' effects at focal lengths less than 25mm. The MC and PTL lenses may, however, be modified to give a useable zoom range from 14.5mm to 115mm. The Aspheron is still useable, its focal length becomes 7.5mm when used on Super 16."

Anything wider than 25mm is said to show "portholing," thus you should be safe with 25mm and longer lenses, as well as zoom lenses set above this limit. This is what I've been told. Edited to add: If you only plan to use one lens mount, you really should have a Bolex SB or SBM, (rather than a RX-5, if you have a choice), converted to Super 16. You'll have a bayonet lens mount built for heavier lenses and can use an adapter for C-mount lenses.

This is not a matter of copyright, rather it deals with trademarks. As long as the truck functions normally, you shouldn't be concerned. If your character spews a monolog of criticism about Ford trucks, then you might provide grounds for a libel lawsuit; but, merely having the "F150" or "Ford" logo in view is not going to violate the trademark. You're making a film, (not pick-up trucks). An entertainment lawyer can give you the legal advice.

According to A.J. Surgenor's Bolex Guide, (9th ed., pp. 22f.), "The H.8 Reflex takes only specially designed lenses. These have the 1 in. thread, but they cannot be used with any of the other Bolex cameras." They are C-mount.

That Def Leppard song, ("Pour some sugar on me"), would be licensed thru ASCAP.

"Salon Des Refusés" is a film festival that has a fairly interesting method of selecting its films. The main requirement for an entry is a rejection letter from the Toronto International Film Festival. A lottery determines which rejected films get chosen. And, if the lottery doesn't work out for you, this year, there was the "Rejection Projections Movie Festival," which accepted what didn't make into the "Salon." The latter festivals may not attract the huge publicity garnered by the TIFF, but it's getting harder to be totally rejected in Toronto. "Beautiful losers get second chance."

When watching a sunrise or sunset, always keep an eye out for the "the green flash," (especially when the atmosphere is still). It's rarely seen or photographed.

Bolex cameras and equipment have loads of manuals, but few are available on-line. For simple instructions about the H16 cameras, try Joel Schlemowitz's "The Bolex." Two good sources for many of the Bolex manuals are Mike & Carol Hirsch at Mugjoint.com and Craigscamera.com.

What are you looking for? There are thousands of writers with screenplays seeking someone to buy and produce their work. To find one that suits your needs, you want to be specific about what you want and what you are offering. Is it for a feature or short film? What genre? Is it for a low-budget production, with limited resources for cast, locations, and special effects? Are you a Writers Guild of America signatory, (paying their rates), or non-union? Are you a film student, with no real budget to pay for a screenplay, other than a copy and "writing credit"? If you are you a novice, unfamiliar with the film industry, let them know? The pros may not want to deal with you, but beginners might, seeking their first deal. A couple of posts at screenwriting message boards could help you find many screenplays; but, you can save a lot of grief by making a forthright request. An open invitation could overwhelm your mail box with screenplays and messages that are unwonted; and, if you don't have the resources to pay for professional writing, you are wasting their time, as well. Be courteous and professional. It's easier to evaluate a hundred log-lines or synopses, than to try to read a hundred screenplays. For those that don't interest you, advise the writer that it doesn't fit your needs with a simple rejection letter. Only ask for screenplays that you are willing to read, select the best, and try to come to terms with what you can afford, (WGA minimums, or for non-union, about 2 to 3% of your budget, deferred payment, copies and credit, or whatever).

As Chris was apparently not aware of what was used for Super 16, my reference to "single perf" was meant as a caution against buying "double perf." Not all 16mm film stock can be used for Super 16. For standard 16mm, (and Ultra 16), you can use either "single perf" or "double perf." I wouldn't doubt that you might find better prices in the United States, (especially in New York or Los Angeles), for short-ends, re-cans, and old stock. Chris was looking at 100 foot rolls; and, I haven't seen much of a market for short-ends or re-cans, (in Canada), on daylight spools. You might find some really good discounts in Toronto and Vancouver, from reputable dealers, for tested old stock; but, you may not find the film stock that you really want, in the quantity that you want, at the time you ask for it. When buying film stock from the Yankees, we Canucks have to consider the exchange rate, (now, about US$1 = C$1.30), shipping costs, GST and provincial taxes, and Canada Customs inspections. And, I wouldn't put it past Canada Customs to inspect the shipment by opening up a can of unexposed film! Or X-raying it! Or letting it sit on a warm shelf for a week, or more! A student discount or membership in a filmmakers group may also provide discounted prices. If in Canada, buy Canadian. The cost of telecine for your production is going to depend on how much service you want from the lab. On the low end of the scale, (unsupervised), you may pay about C$0.15 to C$0.25 per foot of 16mm film. Whoever developes your film must "clean" it for C$0.05 to C$0.10 per foot of 16mm film, before sending it to your telecine lab. You will also need to pay for a set-up fee, as well as for the recording stock used for the telecine. Then, you can edit it on your computer and burn it onto a DVD; and, you'll also have a "film negative" that can be blown up to 35mm for theatres or used for HDTV, (not just a "DV tape").

For Super 16, you do need to use "single perf" 16mm film. Remember that Super 16 is not a projected format. You either reduce it to 16mm, (then why bother with Super 16), blow it up to 35mm, (very expensive), or telecine it to a video format, (then why not use a good DV camera). For amateur work, (without much budget for film and processing), which is not being shown theatrically, you may want to stick with the 16mm format. With a projection speed of 24 frames per second, each minute on the screen would use of about 36 feet of 16mm film or about 90 feet of 35mm film. When blowing up Super 16 to 35mm, for each 100 feet of 16mm, you'll use about 250 feet of 35mm film. Prices are going to vary, depending on what film stocks you plan to use. A fresh 100 foot roll of 16mm for black and white negative will cost about C$25, and for colour negative about C$50, (depending upon the vagaries of the exchange rate with the U.S. dollar, and not including shipping). You may find some savings with buying short-ends or re-cans, for a short film; but, if you are shooting a feature, would you want to risk using second-hand film stock of varied ages?