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John R Woods

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    Nice Bolex Paillard underwater housing, not beaten up like so many.  Kit includes original case, rangefinder, blue filter, two wrenches, and some sort of mount (light meter?  Light? -- see photo), a Bolex H16 film camera, and Angenieux 10 mm retrofocus lens.

    I have never used this housing or camera, but the camera winds up and runs.  The return spring on the M-STOP-P switch seems a little weak, but the camera does run.  There is no carry handle on the case.  I'll leave it to the buyer whether to find an original handle, or just get 'a handle' for functionality.  The blue filter has some scratches on it, but I suspect these would not be a factor underwater.
  2. Thanks John, well $350 for servicing the camera is not that bad. The one that I'm looking to buy is said to be like new, the owner says I ran 3 cartridges on it, and that's all, but for sure it will need at least the battery.



    Yeah, that's the thing. Your seller says it's been tested, but most of the super-8 cameras I see for sale say that they have not been tested. And it's especially difficult to do with the Beaulieus, because you can't just put in new AA cells. Fortunately for me, the one I'm selling works -- with the new $100 battery. The one I just had repaired... It looked like new. But after getting the new battery, it didn't work. So $300+ for the camera, $100 for the battery, $350 for repair, and $50 for shipping. It's easy to get $800 or more into these things.

  3. I shipped it to Bernie at Super 16 Inc in New York.


    BTW: I like your Scoopic. In addition to the 4008 that did not need repair, I'm planning to sell my Ultra 16 Scoopic (as most of my other cameras). I'll have an XTR Prod yet! :D


  4. I haven't had the chance to shoot test footage yet. Bloody Pacific Northwest weather!


    The repair and service was $350. I have two Beaulieu 4008 ZM IIs. I'm going to sell the one that didn't go in for repair. Since it IS running, and since it has a new lithium ion battery and charger (and cover -- BTW, the new battery will cost about $100 on eBay), I'll have to ask $500. The only thing 'wrong' with it is that the button on the back of the grip is a little sticky.

  5. There's nothing really fancy about a timecode slate. They are typically provided by the sound department since sound also provides timecode to camera. You don't really need to worry about jamming them since sound deals with that. When you open the sticks, the numbers are illuminated. When you close them, the numbers stop for a second, then turn off.



    I've heard 'jamming' but I'm not sure what it is. IANA professional cinematographer, so the equipment I use when I do shoot is old-school. Can you explain? I have an idea that the timecode slate sends a signal to the camera, which records the time on the slate onto the film.


    Regarding AatonCode, I found this .pdf.



    The XTRprod can accept timecode information in both ASCII and SMPTE form, and work with all standard timecode devices. Because the same time address is running in both the camera and the sound recorder, a slate is no longer needed for syncing purposes; synchronization becomes fully automatic during the film/tape transfer or later post-production stages.



    That sounds like the camera gets its information from the recorder, and they both have the same code. So I'm not sure that helps me as far as the concept behind a timecode slate.

  6. All the cool kids use timecode slates. Me? I'm a shooter. I leave synching to the editor. We use a plain slate -- white plastic and striped sticks. My friend who does the hard work has no problem with that. But I'd still like a tutorial on how to use a timecode slate, even if I'll never use one. 'Knowledge for the sake of knowledge', as it were. I want to upgrade from an Aaton LTR 54 to an XTR Plus or XTR Prod. I assume timecode slates will work with those?


    Aside from the obvious, show the slate and speak the words and clap the sticks, what are the ins and outs of timecode slates?


  7. I've mentioned elsewhere that cinematography is not my profession. So I need some help regarding an A & R VSU A 16 SR, 25 fps. Here's one I found on eBay:




    I'm assuming it's a speed control. There's a knob next to the cord, that says A 35 BL, A 16 SR, and A 16 BLEQ. I presume these are the cameras the unit works with. On the other end is a toggle switch that reads 'Cam. Ref.' and 'var.', and a button. The face has a rheostat dial marked 10 to 70, with additional 5-unit marks at either end. A pair of clamps is on the back, presumably to attach the unit to a tripod leg.


    So what exactly is this, and how is it used? I don't have an Arri SR, and I have not tried to plug it in anywhere on my Aaton LTR.


  8. The camera was waiting for me when I got home Tuesday. I may have misheard that the light meter is weak, as it registers the same on this camera as the one on the other camera does.


    I can't wait to shoot some test footage. I'll probably get Pro 8mm's ASA50 Daylight stock. They offer SD, HD, 2K, and 4K transfers.

  9. Yeah, I'll use it for a while. One thing I was told was that the light sensor is weak, and it's just one of those things that happen. (The needle moved, but I haven't tested it with film.) I think Wittner has replacements, but I have my Minolta IV-F. The other 4008 seems to be working, though the 'grip safety' (the switch on the back of the grip) is a bit sticky. I think I'll send that one to Björn eventually -- though I'd like to get the 5008 to him first.

  10. I have avoided buying a digital camera (not counting the DSLRs) so far for the same reasons, and have wondered lately if I made a mistake in doing so. I've seen it help a lot of my peers get opportunities with prod companies, directors, and producers, even without much of a reel in some cases. It can be rather discouraging at times.



    Unlike many or most of you, I don't make my living as a cinematographer. About a decade ago I worked at a local studio, and bought a digital video camera (miniDV). Of course, it was 'obsolete' within a year, as 'new and improved' cameras came out. It occurred to me that the reason I avoided buying a video camera for so long was that they all seemed outdated within six months to a year.


    I'm a cinematographer when my best fiend -- I mean friend -- makes a film. He opted to shoot on super-16 for his latest production specifically because he wanted the film to look like film. We used my Aatons. He has since bought an Arri SR3. In both of our opinions, film equipment doesn't really become 'obsolete'. A wind-up Bolex still moves film past the shutter at 24 fps, just like the newest cameras do. Of course, the new cameras are much more capable. But when you have a micro budget, an Aaton LTR-7 or LTR-54 does just fine. (But yeah, I'd really like to have an XTR Prod. ;) )

  11. Back in the early-'80s, the 3-inch displacement certainly made us think about our shots. Not so much a problem today, if you're editing on your computer. We never had an issue with camera noise, using a directional mic. and an Elmo 1000.S. If I were 'making a film' I'd use one of the Aatons. But single-system sound would be nice for 'fun stuff'. If I did want to 'make a film' on super-8 (and I think it's a viable format for certain ones), the sound-on-film would make a nice scratch track.

  12. Well, I decided on the Minolta D-10. It arrived yesterday. It's like a tank! I paid a bout $100.00 for it, and maybe $40.00 for shipping. Anyway, total it was $140.00. I got the Minolta carrying case with it which, believe it or not, is in damn fine shape. Looks like it didn't experience a lot of use. The camera is the same way. Cosmetically, it's in pretty much "new" condition. Never abused. I checked all the functions and everything is operating 100% as it should. Also got an Interval meter, Remote switch, two "eye cups", Manual, and the Tape Recorder remote.



    Coming back to this thread, I see you bought a camera. I missed that before.


    In case anyone else is looking for a Minolta D10, it looks like DuAll is selling a complete kit, fully tested and functioning, for $400 OBO on eBay.

  13. I'm fascinated with Beaulieu. I have been ever since I saw one in The Super-8 Book, by Lenny Lipton back in 1979. I have two 4008 ZM IIs (one currently under repair), and a 5008.S. I'd recommend one of those.


    I still have my Elmo 1000.S I bought new in 1980 or '81. Solidly built, and a very nice lens. And unlike the Beaulieus, it runs on AA batteries. My friend used an Elmo 1000.S for the 'found footage' in the'Footage Found: Arabi' segment of Horror Movie Anthology Volume 1. The first time I saw the film (completed on DVD), it was projected at the H.P. Lovecraft Film Festival in Portland. It wasn't until afterward that my friend told me he'd used an Elmo. If asked, I would have said it was shot on 16 mm.

  14. The advice given is great. But as I said, I am not confident I can undertake them. I sent the camera to Bernie at Super 16, and he says he can fix it. Apparently there is a bent lever/arm connecting the trigger to the circuitry. There's a blown fuze (which I would never have found) and a couple of other things.

  15. It can be a couple of issues. But an easy check is to remove the battery source, then remove the cap cover on the Rewind Shaft, then while holding the trigger in, rotate the shaft using a small flathead screwdriver. Then put the battery back in, and try it again. If still no go, try rotating the shaft again, but this time with the power applied and the trigger pressed.


    I got this far. No luck. I don't have a cable release handy, so I couldn't try that.


    If you're up for a bit of diy camera servicing, there is a repair manual here:



    and a visual guide to disasssembly that I made here:



    Scroll through the repair manual to page 84 where you'll find an electrical faults section, and a checklist of things under the header 'camera won't run'.

    You'll need a multimeter and maybe a soldering iron. Hopefully it's something simple like a dry joint or dirty contact rather than a hard to replace faulty transistor or burnt out motor.


    Manually inching the mechanism over as Martin described is the first thing to do in case it's simply a bit seized.


    Good luck!


    Sometimes I'm good at fixing things. (My Bogen 3036 repair seems to be holding.) But when it comes to electronic devices, I'm not confident.


    Thank you both for your advice. I just don't think I'm up to opening the camera up myself.


    The lens is a 10 mm Angenieux Retrofocus R21 like this one, f 1.8. The aperture ring moves smoothly. I'm not familiar with this lens. I assume you can focus it, but there is no knurled ring for focusing, so I don't know if it's set-focus, or if it's stuck. Glass looks clean and clear.


    Too late to edit: Actually, now that I think of it, there's a toothed plastic ring for the lens. Looks like it was super-glued on, but it has come off and will need to be re-glued. The ring is for adjusting the aperture, and there was no focus adjustment; so I think it's fixed-focus.




    Let me know if you are going to sell that :

    Bolex H16 in Bolex-Paillard underwater housing (I'm going to sell it)




    I'm just waiting for nicer weather so I can get some good photos of it. The housing itself is in excellent shape -- unlike some I've seen that have most of the paint worn off. It's in its original wooden case, which is missing the carrying handle. I thought about getting a new handle for it, but decided not to in case a buyer wanted everything to be original. The blue filter has some scratches, but I think those won't matter underwater. There's the viewfinder screen, two wrenches, and some sort of mount that can be seen in the lower-left of this photo. (Note: That is not my kit.) The camera is non-reflex, s/n 125,###, making it from 1956. I haven't tested it with film, but it does run. The lens is a 10 mm Angenieux Retrofocus R21 like this one, f 1.8. The aperture ring moves smoothly. I'm not familiar with this lens. I assume you can focus it, but there is no knurled ring for focusing, so I don't know if it's set-focus, or if it's stuck. Glass looks clean and clear. Overall condition of the camera is good. The little pointy bit of leatherette trim just above the spring motor disengage lever has lifted, but the rest is great. Interior is clean, with no visible corrosion.


    Since this is a complete kit, and is in excellent condition, I'll have to ask $1,200 for it. But I may be open to another offer. The whole thing weighs about 20 kg/45 pounds, so USPS ground shipping will be approximately $68 from NoWA to SoCal. (I see you're in L.A. Man, I miss Tito's Tacos and Sorrento Italian Market!)

  18. One of my Beaulieu 4008 ZM IIs is not running. I bought a new battery for it (the same kind I bought for my other one). The power zoom works, and the autoexposure works. But pull the trigger, and no go. Obviously it will have to be opened up to discover the problem, but what are the likely causes? Broken wire? Corroded switch? Has anyone else had this problem, and resolved it?


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