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Boris Belay

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Everything posted by Boris Belay

  1. Yes, that info is definitely WRONG, as is a number of other things on that site (nice idea, but...). The reference on the RX lens issue (correcting optical aberrations introduced by the prism, NOT its light-loss) as well as actual shutter speeds (real and corrected) is this site : http://www.city-net.com/~fodder/bolex/ Note that the EBM (and EL) does not have the same shutter angle as the traditional H16RX, and so, a different shutter speed. -B.
  2. Or you could contact Tim Tyler on this forum and ask to post your scans on the "Manuals and Docs" section so they are available esaily to anyone interested. That would be great ! -B.
  3. Hi Tibo, I would think you could get the specifications of the electronics directly from Aaton (Beauviala should remember !) and take your answer to Tobin. With the details, Clive will be able to tell you if it can be done -- he is a very helpful and nice guy. Good luck, B
  4. For the record, I have a Haflexx motor for the Eclair ACL (not very well designed, but it works...) and it does have the same connector, so I'm happy to hear a Tobin Milliframe would probably work with it too -- that was a question I had. I wonder about its top speed (reg. speeds are 24/25/30fps). -B
  5. Boris Belay

    help kill that noise

    Hi Eric, H16's are loud, but it sounds like yours is particulaly so. There shouldn't really be "squeaking" for instance. Can you try to identify the source (or sources) of the noise ? If so, i may be able to help you quiet it down. Check the shutter (rubbing ?) also. In the past, i have posted a few tips on H16 lubing on this forum. That may be a start. I'm not saying your Bolex will be quiet in the end, just a little less loud... -B
  6. The Eclair NPR was the first to come out in the mid-60's. Silent camera with variable shutter, somewhat bulky and uncomfortable for shoulder work : see : http://members.aol.com/npr16mm/ The Eclair ACL came out in the early 70's as a simpler (no variable shutter, for instance), smaller, lighter camera. Very nice too, and much better for shoulder work. see : http://members.aol.com/_ht_a/Super16ACL/menu.htm And of course, do search in this forum, there are LOTS of posts on these popular cameras. -B
  7. No response so far... Is anybody familiar with the Haflexx motor for the NPR, then ? Or some other Haflexx motor that could be similar ? Perhaps the design features are the same ? What about the Arri outboard synch system (probably for the SR generation) ? The synch connector is a small 11-pin female plug. -B.
  8. eBay, from an other seller... but you have to be patient ! Good luck with the hunt ! -B.
  9. Yes, it is -- it's a bit expensive, but it's the right one. The V-S 18-86 is the only Kern lens in that size range that got an alu cap, so you can't go wrong. -B.
  10. Boris Belay

    Peleng 8mm

    I would start with eBay. These are/were quite common and should be much cheaper than new.
  11. Boris Belay

    Wedding 16mm

    Angelina, My sense is that for your purposes, the quality of the cameras (technically speaking) will be equivalent, and your real criteria for choice is the kind of film you want to make. Bolex H16's and Arri SR's are very different beast in the way you handle them -- if you want to be very mobile with a light, hand-held camera (which does not mean shaky shots, just moving fast), i would say go with a Bolex (electric, or possibly mechanical, if you don't want to be messing with batteries and cords and can live with 25 second shots) and 100ft spools : you'll be everywhere and fast, able to be very close to people, mor intimate. If you want more composed shots, and more importantly a 10 minute shooting time with a more quiet camera, then the Arri (on a tripod) would be more like it. But you'll also be more bulky, more professional looking, and more distant to the guests -- which may or may not be what you want. It's a bit more complicated than that (the Bolex can be mounted on a tripod with a large mag, the Arri can be shoulder-held,...), but that's more or less the difference betweent the cameras and above all, it's more about the film you want to make : more or less formal, intimate,... As for the film stock, the answer is the same : any film stock sold today is excellent and the choice is only determined by what you want to have as a result. If you tell us more about the kind of film you want to shoot, we can help you more too. -B.
  12. Is anybody familiar with the Haflexx motor for the ACL ? (Not the NPR, different one.) It's on an ACL that I bought, and I can't find any info on it. Since it's an ACL 1, I suspect the original motor burned out pulling 120m. loads. The motor has crystal speeds of 24, 25, and 30 fps, and no non-crystal speeds. It also has an EXT female connector, which I take to be to synchronize the motor to an outboard controler. I read somewhere that the NPR Haflexx motor can be synchronized to Arri gear of the period (mid-70's). Does that sound plausible ? The motor also has a second connector, a Cannon 4 pin male. I'm thinking it could be for power, but typically the ACL motor gets its power through the camera, not the other way around. Any help or info would be appreciated ! -B.
  13. Hi, An easy way to check your camera speed (any camera, so long as it has a frame counter) is to load a dummy roll and check the number of frames against a stopwatch -- on a Bolex spring model, I check over 20 seconds to have a fairly reliable reading. By the way, this is a good thing to do on H16's anyway since the 24 ips setting is not clearly indicated. And also, of course, the camera may have gotten a little slow over time. I begin by setting the 18ips speed, because the dial does indicate 18ips precisely. It takes a good number of trials to get it precisely set : load the spool, wind the spring, reset the frame counter to 000, fire the camera and stop-watch at exactly the same time (mine, a common sports-style 3 button stopwatch, is conveniently laid out so that I can fire the camera's front release with the stopwatch's start button, so they're synchronized quite simply. I then hold the side release in running position and release it at exactly 20 (or 10) secs.)... then check the result, move the speed selector accordingly, and go on like that until it's good (enough). When I have the camera running reliably at 18ips, I set the dial to the correct position (it is held by two tiny screws that can be loosened with a common jeweller's screwdriver). You have to be careful not to move the speed setting while matching the dial, obviously. Once it's set and re-tightened in the correct position (if need be), I then find the 24 ips (same time-consuming procedure) and mark it with a precise little mark engraved with the tip of a knife. This is useful if you need a 25 ips setting on your H16 too. For other models of camera without frame counters, you could use a length of film that has been cut to an exact number of frames (with an external film counter), allowing for the loop and loading length, obviously. Remember that the longer you run your trial sample, the more accurate your reading : less variation due to a sloppy start/stop synchronization, errors in timing more obvious because multiplied by the time running and more precise time setting (1 frame off over a second is much worse than 1 frame off over 20 !), and a more accurate estimate of your motor's real-world accuracy over the time of actual scene shots. B.
  14. Hi Greg, I haven't tried, but I doubt it would focus right. The 'Aspheron' knob functions a bit like a macro position when the Aspheron lens is not mounted on. What kind of V-S 12.5-100 do you have ? Is it Bolex specified or made for another brand ? C-mount, Bolex Bayo mount, or somethig else yet? Best, B.
  15. Hi Michael, Interesting problem... The back focus distance is different on the H8RX and on the H16RX. For one thing, the turret on the H8 is slimmer than that on the H16. Besides the possible vignetting mentioned by Tim (lenses optically designed for an 8mm. coverage), I don't know what other problems you may run into. Regarding focusing, I would begin by unscrewing the lenses little by little while trying to focus on an infinity point. Since the H16 has a larger back flange distance, you may find the point where they will focus with that method. Start with the longer focal lengths as they will be easier to focus. If you get a focused infinity, then try other focus distances. Let us know the results ! B.
  16. Yes, that is the way to do it. The leatherette is strong enough that it shouldn't tear and you can glue it back later if necessary. Also, you need to remove the metalic piece held by those two screws : it's just for decoration. And the matte-box mount should have its own longer screws (black). -B
  17. All Reflex H16 viewfinders are non-removable, except for servicing. (And the one pictured is the wrong type.) If yours has been removed, you'll have a hard time finding a replacement one (without buying a camera attached to it, at least !). If you do find a spare one, screwing it back in is ralatively easy (with the right screws), but you will still need to adjust it, which is a bit more complicated. Given the market price of a Rex-1, a new viewfinder may or may not make economic sense to you. The other option, if you don't feel up to self-repair on a camera you're not familiar with, is to sell it back for parts and buy a complete camera instead. Are you sure your H16 is a Reflex model ? If it has a prism behind the middle, then it is. The trouble would be if it had been tempered with in other ways, or perhaps wasn't functioning correctly when its viewfinder was removed for parts... Best of luck ! -B
  18. Mark, Regarding your telecine question, that's (more or less) strictly between you and your telecine facility... What I mean is that the problem with modifications like Ultra-16 is that you have to convince your telecine operator to go there with you, ie, find, buy, or make a gate that corresponds to your image area. It doesn't seem like such a big deal, but it's for you to do the convincing : either they will be nice and feel like experimenting a bit with a spare part, or else they will think there is a market in an up-and-coming format like Ultra-16. But as you will see from previous threads about Ultra-16 on this forum, this is an uphill battle : a lot of people balk at the very idea (and I mean, the idea itself) of modifying anything on their cameras that deviates from the accepted standard. Also economically, while the Ultra-16 modification make sense for people who have a small camera budget (like you : you have the camera, the lens (?), and all you need is a file...), this same fact means labs may not be interested in that 'market segment', annoying people with crazy ideas and no money ! I personnally like the idea of U-16, in part because I do my own transfers so I could easily modify my telecine projector to U-16, but your main problem will be to convince whoever does your transfers to modify their equipment for this format. I know some people on this forum were interested in doing U-16 transfers for people in your position, so if it's convenient for you to send your film away, look through the U-16 threads and you'll find them. They should also be able to confirm whether your lens will handle the widened format. Your pictures are so small, it's hard to tell whether there are optical aberrations on the edges. -B
  19. Ian, Don't buy the camera until you see the other side : it could be an M-3 (flat base but no 1/1 shaft)... A very good camera indeed, but you need a solution to the viewier problem. Reflex zoom lenses make this a great beginner package (but drop the CCTV zoom that's mounted on it!). Otherwise, these make great parts cameras for Rex-4/5 and SB/SBM's : exactly the same mechanics besides the turret, viewfinder, and shutter. All the holes are there too. The best deals for a Rex-5 with a broken spring (for examples) are the M4's that were used as surveillance cameras in banks in the 60's/70's : they look bad because of external modifications for the motor mount, but they've run next to nothing (how many robberies n a bank's lifetime ?) and their spring is effectively new (electric motor all the way). Great deal for the handy filmaker ! -B
  20. Yes, I would test the lens : what's the price of a roll of film in comparison with getting an equivalent lens ? People have different answers on the RX question... 'better safe than sorry' is the standard answer until you do your own tests... As for the Switar 75mm, it's a regular lens, so good to go for any C-mount camera. By the way, there were regular versions of most, if not all, those nice Switars, even the late preset series (26/1.1 and 10/1.6), because Bolex kept a line of non-Reflex cameras (M) until the mid-70's. Keep your eyes opened for them : I missed a non-RX Macro-Switar 26 mounted on a surveillance camera a while back on eBay (went for a ridiculously low price) and I'm still biting my fingers about it ! -B
  21. Hi, Just checked my SBM Manual and in my version (there are several) the single-frame shooting speed is indicated in the same table as the other shooting speeds (p. 13). Actual speed is 1/30th of a sec., corrected speed (which you should use with a regular lightmeter) is 1/40th of a second (with shutter fully opened). I too would wind the spring up before it runs out... although in frame-by-frame mode, with about 650 frames on a full wind, it still means a lot of time between rewinds ! -B
  22. B)--> QUOTE(Steven B @ Feb 11 2006, 10:29 AM) <{POST_SNAPBACK}> I've done some stop motion and other camera trickery with the bolex. I haven't had much trouble with the exposures changing as the spring winds down, but it is rather difficult to rewind the camera while keeping it very still. If you'd doing regular 16mm I'd recommend a Vario Switar MC 12.5 - 100mm with macro switch if you can find one. Macro can be very useful for animation and they're relatively fast for a zoom. POE vario switar is a decent lens as well. I like the bayo mount more than the turret mount, practically speaking. The turret looks a little cooler though... more of a classic. You could start your animation project or just start shooting some tests with whatever you come up with, and then let your collection evolve with your needs. I thought the smaller matte box tapers towards the body of the camera so the chunky auto exposure parts of Vario Switars wouldn't fit? Steven Right, it's the exposure meter and power zoom motor that would get in the way of the small matte-box (barring the rods being just too short). This is true of the V-S 18-86 EE, 18-86 OE, 16-100 POE, and 12,5-100 POE. But both the 18-16 and 12,5-100 were made in regular versions (no light-meter or power zoom), so these are at least slim enough. And yes, the Vario-Switar 12,5-100 MC is an amazing lens, better than the much earlier 18-86, but it's also a lot more expensive. The macro switch you mention is in fact the Aspheron wide-angle attachment button that also doubles as a macro function (nifty!). I think it's on all V-S 12,5-100 made for Bolex. Finally, you're right, the most important and practical is to begin with a simple set-up that seems fine and only build on that if you find out you actually need more. Filming in general, and animation filming in particular, is a very pratical art form where machines play a big part, but not so big that the machines should hide the forest (so to speak)! Film, film, film, try, try, try, then reconsider your gear if necessary -- that seems like the best pproach to me. And Bolex cameras are great, cheap and flexible machines to get your foot in the door of 16mm. filming! -B.
  23. Hi, I'm not so familiar with animation work but I can provide a few more answers. I would take Clive Tobin's word on the spring motor wind-down : he's one of (if not THE) specialist on Bolex motors, and you should seriously consider his gear. Besides that, I would think the motor option is safer and more practical, but you could always rewind a lot if you have more time than money, as many of us do ! Bolex made several animation motors of their own, which show on eBay now and then and may be a cheaper option. The Bolex MBF-A motor must be used with the power and control units that went with it (MBF-B, MBF-C) but these are fairly old by now, bulky and heavy to ship, and could have damaged circuits. A later series of Single-Frame Motors (S. F. Unit 2 & 3) are smaller, and the control box is far more modern and smaller -- those may be fine. They all require 1:1 motor axes, present on all Bolex cameras from the mid/late-60's on (Rex4/5, M4/5, S4, SB, SBM, EBM -- and yes, those later Units will work on the EBM, they mount on the matte-box threads). If you're going to trigger the camera by hand only, you don't need the 1;1 shaft and can go for any model (but earlier models may be less relaible, etc.). The EL uses its own electric motor for single frame shooting, and Bolex designed a (rare and sophisticated) Remote control box. I don't know if it will eventually kill the camera... perhaps not with the controler... But it should be nice overall, if pricier than a Rex-4 set-up. With any Turret model, I would lock the turret down with a locking turret plug for animation work. H16 M4 models may make good economic sense for you if you don't need the reflex viewing or if you end up getting a reflex zoom (Berthiot) : the camera is the same as the Rex-4, with a fixed C lens mount (no turret) and no reflex viewfinder (and no prism to worry about). Some of these were (very little) used as security cameras in the 60's and make for great deals today. Regarding the lens : the Kern Vario-Switar 18-86 was introduced around the same time as those cameras, that is true, but you absolutely don't have to use them together. The EE (and later OE) versions of the V-S 18-86 had a built-in exposure meter and iris control that was a big selling point in the Bolex line of the mid-60's (first H16's with light-metering!). There was also a plain version that will certainly not interfere with a matte-box (the 'extra bits' at the base of the EE model being the lightmeter), although the lens itself is quite long, perhaps too much for the rods on the short matte-box. Other possible zooms in the same price/quality range (and Bolex RX-compatible) are the SOM Berthiot Pan-Cinor 17-85/2, 12-120/3.3 (very short for its range) and the tiny 17-85/3.8 Compact, which would pose no problem with any mate-box. Both 17-85 models have a zoom lever which may be more convenient for your set-up than regular zoom rings. The 17-85 Compact also has convenient Macro and Wide-angle complements, if that's helpful to you. But if you're not going to actually zoom-in or out in your shots, I would recommend using fixed focal lenses for your work. -Boris
  24. Unfortunately, this is not really a possibility here : basically the seller has picked these up from the TV company and is not really the owner in that sense... That is why I was asking for these 'outward signs' tips : I have to appraise them for myself, but the good side of this is that I can choose from several units (if I'm fast enough...). The other good thing is that I know who the Aaton dealer in Belgium is, and if they haven't dealt with the cameras themselves (maintenance records with serial numbers), they'll surely know who does that for the national TV company. Thanks ! -B
  25. Wow ! Nathan, Thanks for a great answer ! Somehow, I thought you may be the guy with the answer...wonder why ? I'll definitely look up your post on the registration test. By the way, what this board needs is an 'Ultimate Answer' category, with definitive posts on typical questions, like mine, I suppose. Where do I sent sugestions ? Thanks again... the best part about your answer is that I may get to chose among several cameras -- it'll take a long time with your check-list but what a help this is ! -B
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