Maurizio Di Cintio

 Hello:

1) the button should slide freely from "R" to "RL" positions. If it doesn't, there is a problem. Anyway the only difference from the two positions, is that in "R" you have to keep the shutter release button pressed for the duration of your shot, in "RL" (run lock), you  push it at the start of the shot and press it again to stop.

2) right

3) Camera on sturdy tripod: film a wall with visible bricks slowly zooming in and out a few times. This way it's easy to assess how steady the camera is. To check the built-in lightmeter, frame a newspaper page (preferably with no pictures) and film it for a few seconds (5-10) then change (ovveride) the aperture ( both + and -) at 1/3 of stops (you can also use the dial you mention for the purpose). To check focusing accuracy, again camera on tripod and frame a distant subject at least 20 meters away; lens barrel on infinity, max focal length (66 mm) and aperture as wide as possible: what you film must appear perfectly  sharp after the film si returned to you  (the lens on this camera is one of the best); keeping filming, perform a zoom out up to 6.6 mm: the film will have to show everything is still in focus.  A few more focus tests should be performed at shorter film-plane/subject distances (3-5 meters) better if in scarce lighting conditions, to have as shallow depth of field as possible. In this case focusing should be done as per instructions. This can be avoided if you are planning to shoot with a measuring tape.

4) Vision 50 is a "D" (Daylight) balanced film so it works best outdoors also given its slow speed; built in conversion filter must be removed so set the in/out switch for this function on the bulb symbol (however counter-intuitive this may seem); Vision 200 is a T (Tungsten) balanced film stock so it works better indoor both in existing low light filming conditions and with suitable lamps (rated at 3200 K). You can also use it outdoors in daylight but in this case you will need a conversion filter (and possibly a grey one should there be too much light); you can use the one supplied in the camera (filter switch on the sun symbol) or - better - remove the former and use a screw in filter on the lens barrel (just make sure it's oversized to avoid vignetting at the wide angle  end of the lens)

Thanks so much Martin! Your is the information that were actually missing. Next time I send in the camera for CLA to Bjorn, I'll also ask for the viewfinder upgrade. :D

so you can only use the big series glass filters, that you can put INSIDE the original Angénieux short two-part lens hood.

Bengt

Which I own, thanks God!

Anyway based on all the replies herein and some quick exchages of ideas with Bjorn himself, I tend to think this problem is down to some inherent design faults of the camera which, under some not-all-too-defined conditions, may cause vignetting but only in the viewfinder; in fact my experience has shown this will not affect the image on the film at all; and Beauleu knew about this problem since they clearly mentioned it in their instruction booklet.

He is the man I normally grant CLA of my Beaulieu cameras, even in this case. Anyway nothing serious, I was just curious, if someone here knows why this happens (in a private message, Bjorn mentioned this is due to 6008 S viefinder system design which is different from other cameras...).

Kindest regards.

PS: have you found a substitute for your ex Nikon R 10 :D? Perhaps you remember I was the guy who purchased it... In case, good luck searching.

I have to say, the canon 1014 XL-S dosent give soft image in wide aperture. I have 3 canon and 2 give me soft image about 1,4-4. But third canon 1014 xl-s gets a very good service and extreamly well adjusted by very good service man! I have got shock when i see the different on screen…. The canon 1014 xl-s and 814 xl-s need very accurate adjust by collimator!!! Unfortunatly it is little bit difficult to do on this cameras.

I totally agree with you Viktor: I took some of the sharpest footage at F1.4 on my Canon 1014 XL-S, at about 25 mm focal length. Probably this camera is the best option in terms of portability, sharpeness and sturdiness. Not as wide angle as the Beaulieu's Optivaron but still very acceptable at 6.6 mm. Go for it!

Hello,

 

It has wrong adjust. Need very accurate adjust the lens and body. On my beaulieu 6008 pro is exellent!!

 

regards,

Viktor

Thanks Viktor, but I do not think this is the case: this lens has been already collimated for my specific camera body by a profesisonal. I forgot to punctualize it in my first post...

Hi, all.

Does anybody know why I get strong vignetting in the eyepiece of my Beaulieu when I use lenses other than the supplied Optivaron 6-70 (I mean just the plain lens - no filters added)?

I thought this could only happen with lenses not specifically designed for this camera for example the Angeniuex 10 mm; but recently I have acquired an Angenieux 6-90 for this very camera with a genereous back element diameter and vignetting occurs anyway at apertures of T 2 or smaller. True it is the instruction manual warns about this stating it won't affect the actual filming on the exposed stock (which I found to be 100% true); still I was wondering if somebody can clarify why this happens...

Thank you.

Thank you. I'l do like you suggested.

Hi all.

I'm in the process to receive a lens for my Beaulieu 6008 and I'd like to know if all C-Mount lenses have to be collimated or, in the case of lenses that are not actually screwed on but are equipped with a ring which "fastens" the lens to the body (llike the standard Schneider or the Angenieux 6-90 with LCU), such a process may be waived; in fact I suspect the different way the lens is attached to the camera makes it impossible to have microscopic variations in the rear element-to film plane distance which usually accounts for the need of collimation.

Or, is there a way to assess if a lens actually needs collimation? Possibly by shooting some feet of film? I guess with rather poor light so as to have the iris work at maximum aperture AND the focal length set at the widest. How does it sound?

As long as the manual aperture knob is all the way into the camera and camera is working in auto mode AND you are using the smallest shutter opening angle WITH the selector set to "4", the camera will compensate automatically. If you want to avoid sudden iris aperture changes, you need to lock that knob by pulling it outward. If you ant to set a specific aperture by yourself, you can do that anyway, anytime by rotating that knob AFTER pulling it out.

Hope this helps.

Hi. It's an excellent camera with an awesome lens. And built like a tank (except for the manual aperture knob which tends to get somewhat flimsy over the years).

But when you work with shutter speeds different from the standard, you don't have to compensate manually with such a knob: all you have to do is setting the small selector (located right, next to the speed dial) to the same number as the shutter control dial: normally it is sets at the red dot (= shutter works at its maximum exposure capability); if you choose to work with half shutter angle, then you select "2" on this small lever; finally you want to choose pos "4" when working with the smallest shutter angle. This way the camera will automatically compensate with bigger iris apertures. Of course you can always switch to manual Iris operation as well like "AE Lock" etc.

Have fun!

Hi there! Are these Century Optics CS adapters still manufatcured? If not, where can I buy one? Thanx

Hey I attempted adjusting the trimmer described in the page linked above but on my camera, it doesn't work; the relevant trimmer instead is the next one (second from left).

Anyway the whole description provided me with a good starting point and now my "715" works perfectly with the Ekta 100D.

Thank you again.

Maurizio

Thank you soooooo much indeed!!!

It gives even more info than I need.

Perfect!

Take care and good shooting.

Maurizio

I'd like to shoot my next film on Ektachrome 100D using my Bauer 715 XLS. Unfortunately this camera only accepts 40 and 160 ASA (CC Filter off), therefore when using the new 100 D you have to manually override the automatic exposure about two thirds of a stop more open than indicated; this is a bit annoying so I'd like the camera to evaluate the correct aperture fully automatically. To do this I need to locate the precise trimming pot on the main board inside the camera. It's not a problem for me to open it, to set up a proper way to figure out the required compensation BUT I have to know which trimmer does what. Since there are several ones, in order to avoid messing something, I'd like someone to tell/show me which is the relevant trimmer. Thank you.

Be careful, here: the C-8 Wide attachment is a later development of Canon's and was meant for use with the cameras 814/1014 XL-S (their last generation the latter one having a 67 mm lens diameter), while the Autozoom is from the previous generation. Moreover these converters usually work in the "Macro" field of the zoom (all the way to wideangle and possibly over by means of some lever/button to be activated prior to mounting such a converter). I am not sure whether the Autozoom has macro capabilities in the wide angle end of its zoom - if not, using such a converter might be very hard or next to impossible.

IF the autozoom has such a capabiity, then you might screw in the Schneider UWL II which fits your lens perfectly (diameter wise); it's less rare than the C-8 from Canon (also less resistant and less corrected) but it should fit your requirements in most circumstances...

To the best of my knowledge basically it is the same as model XL-620, except for the lans, which should have a 4x magnification ratio and the camera lacks a Lap-dissolve facility.

SECOND UPDATE: I have successfully burned a PAL DVD of my 24fps Super8 short, but I despise the results. There are artifacts, smearing and blurriness that was not there previously. It really does ruin the experience. Not to mention the increase in pitch on the audio makes the actors sound as though they were sucking on helium.

 

FRUSTRATED!

 

Nicholas Kovats mentioned downloading files. If that is possible, should you be able to project from a laptop, then I would much rather submit my 24fps short that way. It's the best short I have made and I am damn proud of it.

 

Question is, do you want an HD 16X9 H.264 file or would you prefer standard def and 4X3 (1.33:1)?

 

My source is 1080p 24 Uncompressed QuickTime.

 

1080p 24 at High Quality is over a gig, so that's too large, but I can easily do a 720p version that is under 800mb. It look very close to the source.

 

 

HI, THERE. I'M SORRY FOR ALL THE TROUBLES YOU ARE EXPERIENCING IN ORDER TO LET US HAVE A VIEWABLE COPY OF YOUR FILM. EVENTUALLY I GUESS THE ABOVE MENTIONED 720p VERSION SHOULD DO WELL.

 

Standard Def would be half that size, but contain noticeable compression artifacts because of Super8's grain structure.

 

It would be even easier to burn the final file on DVD as a DATA FILE. That way you do not need to download it.

 

The other two films I am submitting were shot at 18fps and I have attained PAL transfers, so I was able to burn those to DVD and will mail them tomorrow morning.

 

Last question... You do not specify how these will be projected. Would you prefer widescreen 16X9 with 4X3 content in the center, or for 4X3 (1.33:1) content do you want a non widescreen, normal 1.33:1 SD DVD?

 

ANSWER: if the original is 4/3 aspect ratio, we prefer to have it that way (no 16/9 with image at the center, only, please)

 

I've seen festivals where they completely screw up aspect ratios on some films because of this kind of confusion.

 

REPLY: please rest assured - we don't.

 

Best of luck.

 

Thanks

No problem! Best of luck.

No problem!! Just download the entry form, fill it in with all the necessary info to access your film and mail it out.

Break a leg!

Hi all.

Just a reminder for the deadline is approaching.

Whoever is interested in partaking the competion, should send in her/his work originated on S/8 now.

Thanks for the interest.

Maurizio

The camera you mentioned has a fixed lens, not interchangeable.

Indeed I've never heard of a UWL used on a non-macro cine lens; perhaps you can achieve some sort of image on the wide angle end of the lens but it might be heavily blurred.

About ten years ago I gave mine to Firm "Geissler" in Germany for a complete overhauling (but without spare parts necessary).

This is their website: http://www.geissler-service.de/index.html

Chek it out even if there seems to be no hint about them still servicing S/8 equipment.

Hi, Matt.

Answer A: it's just portions and it's not for traditional TV broadcast but for the Web Channel of the MilanoCinema Cultural Association. Also it has been devised to have parts of winnig films in the near future (they are still working on this, as you can imagine time is never enough);

Answer B: correct (in other terms, the preview copy should not be expected to be returned)

Answer C: that piece of regulation is needed because according to the Italian law on data storage and retrieval, you have to get permission to record personal data, even if it's for a contest like this and even if it's just Name & Family name and a few info more, from the person in question. Ridicolous but that's the law. It's nothing to worry about.

So I wish you the best of luck for your film(s).

Take care.

Hello everybody.

This is the 4th Edition.

The Festival will be held in Milan on Nov 12th&13th.

Deadline to send in your films is Oct 15th.

You can find all details by checking out this link.

Thanks for looking.