Simon, it is admirable that you are trying to repair cameras and keeping this medium alive. On the contrary, spreading misinformation to promote your activity is dishonest.
To clarify what you wrote previously, can you upload pictures of to the badly converted super 16 camera with the contact of the person who bought it? Or was the conversion also made by an individual in Austria?
"Yes, I will. First of all the turret plate is the original, so lenses are still centered on the film middle line, not onto the new wider frame. Grebenstein in Germany used to shift the central turret post in order to take the lens mount threads 1,1 mm to the left,"
It has to be shifted 1.2mm for the SBM. If you want to teach people, be precise. Just for your information, It is done for every single conversion at Bolex International.
"Next, the aperture, machined out obviously, was left blank metal. They wouldn’t even grab a sharpie and blacken the inner rim. Ghost frames were the result, that’s the designation in my language by meaning, the client showed me some footage on his laptop computer he brought with him, scanned on an Arrilaser."
Can you please show us a photogram from the Arrilaser? From my experience "ghost frames" come from the bad synchronisation of the shutter and claw mechanism. I have filmed kilometers of film with super 16 Bolex the last 10 years and never noticied a single reflection coming from the inner rim.
"Thirdly the sprocket drums seemed to have the teeth shortened but I didn’t measure that out since the client took the camera with him swiftly after I had disclosed to him what loss he was facing. When I tried the camera last week I did what I always do, then under the eyes of the owner, I used it like anybody uses such a camera. Wound the spring, closed the loop formers (where I encountered the old only half-solved problem of an almost hold sometimes), cut the film diagonally in the built-in knife (to feel whether that’s still sharp), and let the film thread mechanism lace up. In the lower loop the film derailed, I had to let the release go. Without a doubt the film guides were not aligned."
Are you trying to say they do not test the camera with film?
"Fourth, the very outermost maybe ten percent of the image width showed vignetting, depending on the focal length of the lenses used, to be seen clearly with the footage. When I peered onto the aperture from the front I realised that the reflex prism block cut into the Super-16 image. To remedy this the glass would have needed to be unglued from the bracket, shifted by only half to one millimeter, and cemented back in. One can work on the holder as well but from my experiences with the unit it’s better to leave its bores intact."
I strongly doubt such camera would go out of the workshop in Yverdon. Please show picture.
"I’m not totally clueless with film movie cameras. In H cameras I have found spring washers with burrs put into the mechanism the wrong way round originally, by Paillard in the sixties. A trained mechanic knows that spring washers mustn’t have the slightest burr. Also the orientation makes a difference between the spring barrel revolving smoothly or uneasily. That is the reason why I disassemble every H completely, if an overhaul has been agreed. It can help to swap the spool spindles, too, because their fit is narrow. And so on on so forth."
I have met nearly fifty employees of the Paillard Bolex company. With all the quality control they had, what you say is near impossible. The camera was probably disassembled by an amateur later. It is easy to confirm by the look of the screws.