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Maxim Lequeux

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    Bolex RX5

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  1. An update in case anyone finds themselves in a similar situation: So I decided to try take the film on the plane as postage seemed quite complicated/ expensive (the post office/ package delivery situation in NZ has changed a lot in the last 10 years). Even though I was 'officially' denied the opportunity for a hand inspection of my luggage when I wrote Auckland airport via email I managed to convince them not to scan it when I got there, I came prepared with my invoice from Kodak along with a printout of the Transporting and Storing Film page from Kodak's website (and my Bolex and a changing tent in case). Transiting through Dubai there was no chance, they wouldn't listen to me at all, but through 3 security checks (2x NZ, 1x UAE) the film was only scanned once, and seems to have had no effect, I am very pleased with the material. I decided against shipping as it would have been x-rayed by DHL anyway, and I have also had poor experiences with EU-NZ postage in the past (months-years delays), and the price (which I would have payed if I would have had a guarantee/ certainty which DHL would not give me). All in all somewhat stressful but well worth the footage.
  2. Getting a filter sampler from Lee or somewhere is pretty good, you get clean and size appropriate filters for the Bolex filter holder, and all different varieties in case of CTO, CTB, and accordingly with ND in each. I just filmed a bunch of 250D, in late summer, constantly using ND 1.2, 0.9, and 0.6 (out of said sample book) and am very happy with the results, got to around f4 (overexposing a stop or so).
  3. If your situation is anything like mine I can imagine that you'll have to completely clean out and put in a lubricant - not oil, the old switar grease that I had in mine was very hard and green. Previous discussion for reference too:
  4. Sorry, I didn't watch through the whole video before I posted it, but when I relubed my Switar rx10 I watched some of Mikeno62's other Switar videos, maybe they will show the helicoid being opened?
  5. Take care to mark your lens so that you can put the helicoid back together and keep everything in focus!
  6. Is there a big difference between the black 4x17C and 4x17B for reflex Bolexes?
  7. Yeah I'm thinking Neglab is what I'm going to do, had a good chat with a Kodak rep in Germany, but there seems to be no definitive answer, many options with their advantages/ disadvantages. I think I'd feel more comfortable getting it processed as quick as possible. Archives NZ gave me a very simple answer that they don't offer any development for dailies, only copying for film preservation. I guess if I had more material they might have given me a different answer. I'm still in Germany atm but I might try give them a call when I arrive in NZ, you never know... Ian didn't tell me what his set up was, just that he could only do 16mm reversal, or 8mm neg/reversal during the time that I'd need my footage processed.
  8. Thanks for the info Ezra, Neglab sounds like a good option, I'll get in touch with them. I'm looking forward it, haven't been home since before the pandemic! I just got a reply from the Civil Aviation Authority NZ, I asked if I could get the rolls hand inspected, (as recommended by Kodak: If it is unavoidable that film is carried, passengers should contact the airport in advance to request hand-inspection) with reference to Kodak's guidelines, and the short answer is no. So if I managed to convince someone at airport security then it would be them going against their guidelines, which doesn't give me much hope... --- Answer from CAA: We can advise the Aviation Security Service in New Zealand does not provide the option of hand inspection of film material due to the risk associated with items not being X-rayed. Any unprocessed film presented in hand luggage [carry-on] will be subject to screening by X-ray. X-ray is an effective security measure to identify threats to civil aviation and provides the additional benefit of deterring persons from using passenger aircraft for other criminal activities. We accept there are risks that any unprocessed photographic film may be damaged by our X-ray equipment and we are aware of the recent advice provided by Kodak that your referenced. However, due to the risks of not X-raying items we recommend passengers follow Kodak’s advice of 2003 to photographers to take steps to prevent their unprocessed film from being damaged. Please refer to Kodak’s Technical Information Bulletin – Baggage X-ray Scanning effects on Film recommends: • Having film processed locally before passing through airport security. Photographers can purchase unprocessed film after they arrive at their destination. • Using lead lined bags to reduce potential harm. • Using shipping carriers that do not use x-ray. --- So a kind of generic reply I guess, and maybe the airport security staff on the day could be convinced otherwise, but that feels like a big maybe... Odd that they would recommend using lead line bags, I would have imagined them just increasing the power of the x-ray to see through it, I mean, if they need to see what's in the bag then why recommend a method of preventing them from doing that?
  9. Thanks for the replies. I got in touch with both Ian and the Archives, neither can help unfortunately. Ian is currently not able to do ECN2 for 16mm, and Archives NZ told me that they aren't offering any outside development: "I'm afraid the Film Preservation Laboratory is not providing services for rushes/dailies processing as it has a specialised set-up for preservation copying only." Maybe I can try again when I'm in NZ and call, it would be the best outcome to get it done in a place like that. This is what I'm afraid of, I would like to try take it with me, but goodwill with airport security seems like a gamble, especially with 20+ rolls (100ft). I'm thinking shipping might be my best bet, with some guarantee from DHL or the like. Maybe to a lab in Australia for the development and then onwards to EU to keep the shipping as short as possible before development? On that note, any tips for development in Australia? A cursory google search shows Neglab and Rewind Photo Lab. I don't know much about the Australasian analog film scene, but in Germany the last big lab (Andec) offers student discounts.
  10. Next year I will be shooting in New Zealand on 16mm, and am currently wondering how I can best get my material back to Europe (as I can't get it developed in NZ, no labs). I can get the raw film sent directly from Kodak to NZ, so no problem there, but I need to sort out how to get it back - without it getting damaged by x-rays or similar problems. I flew once before (EU-NZ) with film in both directions and you can see it on the material, it's ok, just some weird red pulsing, but I would be keen to avoid any damage. The previous shoot was with 50D, and now I'm planning on shooting with 250D, which probably makes a difference x-ray wise? My current 2 options as I see it are - shipping it directly to the lab from NZ (to Germany) with some super safe option (DHL or FedEx?), but then I'm not sure if customs would be a problem? - taking it on the plane with me and hoping that I am lucky enough that they will inspect it by hand. Does anyone have any experience / tips? (student film btw) Many thanks, Max
  11. In my experience a simple air blower/ blowing with your mouth should be enough to do a gate check on an SR2. Just use a flashlight from inside and out, so you see all the fuzzies, maybe run a moist toothpick around the gate. Canned air seems like overkill, and this is my anecdotal experience on very small, no budget sets, but my frame is always clean ; )
  12. According to this Link http://www.filmtechnik-online.de/filmtechnik/reload.htm?bo-el.htm Standardmäßig wird die Kamera mit einem 12 V 0,8 A Akku geliefert, der bei voller Ladung etwa 12 Tageslichtspulen a 30 m durchzieht. Beim Drehen mit Zusatzkassette ist die Verwendung eines Akkus mit höherer Leistung ratsam. Translation: The camera usually comes with a 12 V 0,8 A battery, which when fully charged should be able to transport roughly 12x 30m rolls. Filming with the extra magazine requires a more powerful battery. So I guess it depends on whether you are using the extra magazine for 120m, or just shooting in camera on 30m rolls. Also, depends on how fresh you batteries are, my experience with the battery packs for Arri SRs is that they loose their juice fairly quickly, and so need refreshing every few years if used infrequently. Here's a link to the manual (in english) http://www.vintagecameras.fr/images/MonSite/BOLEX/H16_Reflex/_Doc/BOLEX_H16_EL_Manuel_en.pdf Continuous shooting is possible.
  13. Awesome, I had seen a couple of Mikeo62's videos by chance, I'll need to check out the others. Cheers!
  14. Thanks so much for the resources Frank! I had found some stuff on opening the lens, but Richard Haw's overview is great. Before opening the lens I was wondering if there was a less intrusive way to solve a stiff focus. If I work it a bit and warm it in my hand I can get it moving ok (unfortunately it won't go all the way to infinity). Would some more warmth be advisable, or is it just a temporary fix in any case? I was thinking maybe with a warm hot water bottle or something like that. Previously in the thread heat was discussed, and precautions were given. My hopes aren't particularly high on that front though, I imagine I will have to open it up and clean it properly.
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