Edwin Feliu

I finally received my first footage but was disappointed by the results. Throughout the film, there's half of one frame and half of another. What could cause this? Is my Bolex kaput?

I read that Derek Jarman did this to create special effects during filming. Will my film be ruined if I change the frame rates during filming? I would do this to deliberately change the movie's tempo.

I sympathize with the OP. When I got into this not long ago, I didn't realize a film would cost me $80 to $100 or more to develop and scan. That was sobering. But I know it's doable if I make sacrifices in other areas. It's worth it to me. I love film, and have shot 35mm most of my life. Not because of convenience, but because I love the patina of film. There's also the loveliness of handling an old camera and using related accessories. To me, film is an aesthetic experience. I shoot digital, too, but I keep returning to film after every dalliance with digital. Like Samuel said, when I want razor-sharp images and a low-cost alternative, I'll turn to digital. I also use digital when I want a look that reflects our times and age more accurately. But digital can't match the look of film, no matter the capacities of editing programs such as Lightroom and Photoshop. I know the OP realizes, this, too. There's poetry in cinematography because it forces one to condense: one doesn't have the luxury of unending shots. I like that challenge, and I get a high when I use my movie cameras.

I can only speak in my experience with 35mm film cameras. The hearing aid batteries work well and are commonly used, and so are two replacements. One is an expensive battery with a rubber ring, and the other is the Wein Cell 1.35 volt battery available in Amazon for $8. Both have worked for me, and I'm using both of the batteries above for the Nikon. They do the job.

This seems interesting, based on the blurb. I ordered it and will report back. "A selection of stills from Derek Jarman’s many short Super 8 films, curated and commented on by some of the most important names in contemporary cinema Derek Jarman was one of most influential filmmakers of the late twentieth century, transcending the avant-garde to make cult feature films such as Jubilee (1978) and Caravaggio (1986). He was a painter before venturing into the world of film, and a painter's mentality permeates all his work, particularly his experiments in Super 8 film. The Super 8s show Jarman at his most visually courageous and creative, using rich color and bold compositions, and experimenting with techniques such as superimposition and the use of prisms and filters. When Jarman died, he left his entire collection of ninety-two Super 8s to James Mackay, who has spent the last twenty years archiving, restoring, and digitizing them. Here, Mackay presents stills from these works, selected by artists and filmmakers who have engaged with or been influenced by Jarman. This remarkable body of work contains some of the most evocative images from the filmmaker’s entire career, accompanied by insightful commentaries from contributors such as Gus Van Sant, Tacita Dean, and Isaac Julien. 780 illustrations."

It's my first Super 8 camera, and I love it. They don't make 1.5 mercury batteries anymore, so I'm ordering the 1.35 replacements which are also used for 35mm cameras. Before I loaded the Kodak Visions3 500T/7219 film, the automatic setting was at the lowest aperture, since it had no batteries. Once I loaded the camera, and using manual settings, it won't go lower than f/stop 8 but will go up to 22. Am I missing something? Why can't I go down to, say, 2.8? Thanks for any help.

Thanks, Dan. I look forward to shooting in color.

I'm confused. I was told that if it's 100 feet, it's a daylight spool, but 400 feet needs to be changed in darkness.

Do I need to load Kodak Vision3 500T 7219 in darkness, or can I get away with subdued light?

I just realized current Kodak film needs to be loaded in darkness. When I bought my Bolex H16, there were two expired spools with it, both Kodak. One was Tri-X. I just sent one of those two to the lab. Does older film also have to be loaded in darkness? At the moment I'm using Orwo. Is there other film that can be loaded in subdued light?

Thanks, Dom. That sums it up well and clears my uncertainty. I've made many errors so far in shooting with the Bolex, but I imagine that's part of the learning curve and knowing the camera. Sure having a lot of fun, though. So far, only two films.

Do I need to adjust the viewfinder on top for focusing before shooting? I've been measuring the distance in feet with the ring on my Cine Ektar. Or do I use both? Thanks for any feedback. FYI it's a non-reflex.

I think he meant (low)baller.

Simon and Dom, thank you so much. I've shot film most of my life but am new to cinematography. Thanks for clearing that up. As defined above, mine is a non-reflex. Man, I'm having so much fun! This is a wonderful forum.

I regret starting this thread without getting my facts straight. I don't know whether my Bolex H16 is reflex or not: how does one tell?

Dom, thanks for the thorough response. I'm new to cinematography, so it's much appreciated. One last thing: Would a Kodak Cine Ektar be a contender?

Hi, it's a reflex camera. Didn't know they carried different lenses. Edwin

I'm considering a Lytar SOM Berthiot 25mm and a Kern Palliard Yvar. Or are there any other suggestions?

Thanks, Mark. Too bad.

I just bought this camera and noticed it has a film compartment unlike regular 8mm holders. Am I mistaken? Does it take regular 8mm film spools?