alexandre favre

Simon Wyss made up another story, we wil never see pictures from him, he is too busy spreading his hate on german forum. https://www.filmvorfuehrer.de/topic/31157-wechsel-bei-bolex-international/?tab=comments#comment-326552 https://www.filmvorfuehrer.de/topic/31971-bolex-international-geht-es-schlecht/?tab=comments#comment-335648

At least you are reading the good documentation. Could you please answer my question and not elucubrate on other topics? We both know that Bolex International has nothing to do with Paillard. Can you show the pictures of the "Wreckage". Photograms of the "ghost images", etc. Otherwise I will conclude you made up another story.

I was answering Simon Wyss, my apologies if I wasn't clear. Hopefully we all agree that the Bolex lamp shades should be forbidden by the internet police.

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.

Simon, criticizing your only provider of spare parts on a public forum is questionable. Maybe you will have more luck with Chambless, he is selling spare parts. If your clients cannot reach Bolex International, I would suggest them to contact a Bolexpert, Jean-Louis Seguin, Cinethinker, Duall, Lee Boscher, etc

I would suggest Omnimago in Ingelheim. They have a scanity for 35mm, 16mm, 8mm and the prices are reasonable. https://www.omnimago.tv/startseite.html

I sold a Bolex (rex5) super 16 to this French cinematographer in Spain. I don't remember if he was in Barcelona or Madrid. If you don't find one to buy, maybe he will let you rent his camera. https://www.instagram.com/lagoonoperators/

Visuals in Geneva Switzerland are selling their Arri master macro. https://shop.visuals.ch/fr/macro-pl/168998-arri-k2475720-arri-master-macro-100-t20-m.html#/18-condition-used

Another theory coming from an internet expert. I would not trust this person entirely as he is trying to promote his own camera repair work. You speak about a "correct conversion", who is offering this service? Some years ago this same person was inventing some stories about the beginning of the H16 camera. When I asked him to justify his assumption, he stopped answering e-mails. The person who replaced Otello Diotallevi and is now working for Bolex International is in my opinion very competent as he learned the craft from the former Paillard Bolex employee who developed the super 16 conversion for the H16. He lives and breathes for Bolex. At the beginning Bolex International started by subcontracting the super 16 conversion. They were not happy and started to do their own. Maybe "the wreckage" you have seen six years ago comes from there (not far fom Basel). "I have seen two H cameras with aperture plates filed for Ultra-16". I have never heard of any Ultra-16 camera coming from Bolex International, when did they offer such conversion? Hopefully for us filmmaker the new owner will not be as incompetent as the previous one.

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You can convert your Bolex to SUper 16 at Bolex International in Yverdon, Switzerland. They are overpriced but the conversion will be made correctly. https://bolex.ch/

Hi Simon, thank you for your suggestion. I would like to use the Bolex as a printer as I working on a documentary about the Paillard Bolex company and want to keep it Bolex only.

Thank you very much fort the tips! Using a infrared video camera will be very helpful. If I understand correctly, I can bipack the negative film with print stock From the KODAK VISION Color Print Film / 2383 PDF: "Color print film is balanced to be printed from a color negative, duplicate negative, or internegative, using either an additive or subtractive printer. Black-and-white (silver image) negatives can be printed to yield a fairly neutral image, although slight coloration may be seen in highlights or shadows. Overall filtration should include a UV-absorbing filter, such as a KODAK WRATTEN Gelatin Filter No. 2B." Do you know wich filmspeed are KODAK VISION Color Print Film 2383 or 3383? From the KODAK VISION Color Print Film / 2383 PDF: "PRINTER RECOMMENDATIONS Pictorial Printing The printer setup for KODAK VISION Color Print Film / 2383 is similar to EASTMAN Color Print Film 2386 / E / 3386 / E, with little or no change required. For example, if you use an additive-type printer, such as a Bell and Howell Printer, Model 6123, to print originals, you can use a 90 V dc lamp, a KODAK WRATTEN Gelatin Filter No. 2B, a KODAK Heat Absorbing Glass, No. 2043, a printer speed of 240 feet per minute, and the printer settings in the table below: You can also expose this film with a subtractive printer with a KODAK WRATTEN Gelatin Filter No. 2B, a KODAK Heat Absorbing Glass, No. 2043, and suitable color-balancing filters (KODAK WRATTEN Color Compensating Filters)."

Title should be: Printing Color negative with Bolex Unfortunately, I cannot change it.

Michael Carter is doing this with Black and White films as explained in the video below. Richard Tuohy wrote in this forum: "With a normal bolex you would wind max 50 feet of meg with the same amount of print stock with the emulsion to emulsion. Note, start with the neg head out. It will end up tail out after preparing it with print stock. Load bipacked roll into camera. Take off lens. Point camera at a bright light bouncing off a white wall. Develop film. If it's too light or too dark change the camera speed and repeat."