Nick Mulder

True, as I myself have an RX4 with crud in the periscope prism - but: I think that is the deal breaker

The goo is the glue holding the prism in the frame thingy ... It is meant to be there, but maybe it or at least something has penetrated the prism - You probably cannot see it in the finder as either it is out of focus and spread out beyond recognition or it is behind the reflective part of the prism ... I'd be saying its new prism time - which is bad - $$$ - the seller should really take it back and return your money - if it casts shadows like you say it does then the camera is useless without a new prism installed.

Sorry to be the nerd - and I hope my calcs are correct - but the difference between 1/30 and 3/8 is 3.5 stops, around 8 filter factors or 0.9 and a bit ND. ND 1.5 filter is either too much or too little for either 3.5 and 5 stops (using both scales)

Near on most Bolexes that have the 1:1 shaft will also have the variable shutter - you can use this to decrease the exposure time... The smaller the shutter gets the more the relative slop in the mechanism can(will) become a factor in your exposure, thats why Bolex don't register beyond '1' on the scale (which is one stop, halving the angle) - but you can use much smaller angles by eye-balling in and taping down the lever Welcome to under/overexposed slit-scan rolling shutter fun

Just jam any ol' 2amp fuse in there - fuse wire is good, or a nail

ha ha - yeh wooo!

We did it for a recent shoot - If I remember correctly it was a little 6 channel desk >DMX >Dimmer... The reason it was fine is that we were shooting black and white so color temperature change wasn't as issue, we also wanted lighting changes mid-shot.

That click is made by a little raised section on the outside of the spring casing hitting a little fwing-fwang every revolution - An EBM wont have one of these (unless they have made it work some other way, I dont have an EBM on hand to see, but I know thew EL doesn't have one for instance). After listening to the video I'd suggest your EBM is in need of some adjustment that cannot be simply diagnosed over the net like this - this is not to say that the fix may be simple (and lets hope it is), but there are enough things to get to loose and/or misaligned its like a needle in a haystack... Personally I'd start by getting some film and making a large loop so with the camera running you can keep going for as long as your battery will last - Now, I dont know if you really want to do this or not (but I certainly would) - when running get in there and gently push and pull on the operational parts that you can access and see if any manipulation makes the noise either louder or quieter - and unless you have the $$$ to fork out I do mean GENTLY - so, lets imagine you find that when metal thingy A when bent in direction B makes the noise go away (and in turn causes no other new issues, tricky ones you cant see until you get the footage back like excessive film weave) - anyhoo look and see if metal thingy A has some sort of screw on it that when loosened makes metal thingy A adjustable in direction B ... you'll get the picture - If it doesn't then just bend or file it so it can be moved ... fixed it ? great ! >> welcome to Team Bolex Home Fix it Shop ! other than that it might just need its once every 30 year internal lubrication service.

cool, you have the best 12.5-100 - you can use the aspheron knob without the aspheron lens as a extended focus range thingy, meaning you in essence have a macro lens there also - it achieves this by moving the backfocus so any zooms you make in this mode will move the plane of focus also, which is not what usually happens with zooms but can with proper (fiddly) planning make some ordinarily tricky shots very easy (pulling focus on macro zooms, ouch!) And of course you can fork out a trillion dollars on ebay for the aspheron to get a 6.5mm - woo! The preset iris version which you dont have anyhoo is a kind of spring loaded iris function like you find on many stills SLR lenses, you compose and focus with the iris open, so you get full brightness on your ground glass and can get a better idea of exactly where the plane of focus is. When you take the shot it springs down shut to the setting - f16, f4 whatever ... It is different from the preset macro-switar primes however - they aint as fancy in terms of that functionality, they dont spring into place, but you can blindly (as in not take your eye away from the finder) move them to a preset aperture, which still makes things much easier - they sure are nice glass also RX issue, have a read here: http://www.apecity.com/manuals/bolex_lense...6mm_cameras.pdf Its a proper description from Bolex themselves on the issue... about %40~50 of the other info you will find is incorrect, but is instead what most peoples intuition tells them to expect is the case - it does however mean that any footage shot with this intuition will be overexposed ... So that explains what the 'RX' is all about - for proper exposure have a search here in the forums, it been discussed quite a bit. Oh, and if you want to swap your lens for the power zoom PTL version (with aspheron knob, auto-iris (yip, auto iris) and perfect glass also) - I'm keen ;)

The Tobin sync units that work with the EBM have been released again in a dashing black case now (no more grey), search for them on ebay...

oooh, yeh cool - they are nice huh - but which one ? the preset iris version - the PTL/power zoom - or the standard with Aspheron option ?

The Bolex Pro has sound-sync options as it is quieter - but the EBM can be stripped down of all its accessories and fit into some small spaces if need be, the EBM can also fit all the really nice Macro-Switar preset lenses - hello music videos ... What are you using it for ?

The SBM is also easier to convert to super16 - no compromises or (much) awkward machining to do ;) Along with the presets already mentioned I'd spring for a 75mm Macro-Switar also ... The 12.5-100 comes in two flavors - get the iris-preset model if super16 is a consideration.

30,000' 7276 Plus X 30,000' 7374 and a heap load more of odd's and ends all in the fridge the top two still develop fine after at least 20 years - going to try and keep it until its a rarity ;) - shot on plus X neg ...

I used the preset Switars - 10mm 26mm 75mm 150mm and the PTL Zoom for some odd focal length requirements

naw, nought to do with that one, but I know how it was done - it was actually this video that Liam and I were talking about when he learned I was a bit of a camera nerd (and vice versa as Liam likes to take a nice snap here and there also). ... the Better to Be vid pretty much came to be a month or so later ;)

Hiya, I was DOP on this vid - Interested to hear feedback re the lighting and camera work ... As per usual - youtube does it no justice, but you get the idea... Shot over 48 hours at Liams family home in Auckland, NZ - two person crew, Director Marc Swadel and myself, make up was there for about 8 hours or so of the first day but I think the boredom set in for her and she left - don't blame her, was a bit of a killer shoot with lots more footage shot than made the final cut - think trampolines at 60fps and a heap of production design issues to be solved as we went along... Jarrod the doppelganger actor/character helped out with a bunch of lifting also, an editor by trade - top notch work ;) Shot on Plus-X neg stock and 7201 on Bolex cameras then printed to positive for editing on a intercine flatbed then simply projected on a wall and captured in video for distribution. The segment near the end was stills shot off my iMac screen - not sure if they cut so well in with the rest of the footage due to the contrast and wotnot... The lighting was all borrowed from the stage/theatre company I work for on occasion - couple of 2K fresnels and some 1K profile lamps on a dimmer for all the funky cuts and fades you see here and there - we used a hazer for the keyhole shots. The Bolexes were an SB found left on a window sill as a family heirloom for 20 years and an EL from Isreal/MOSSAD (as far as we can tell) with hebrew engravings and weird MilSpec AV/hall effect sensors on it ... not to mention and a gallon or two of salt water in the lens If you didn't spot it David Lynchs Eraserhead and German expressionism was a major influence, at least on our accents during the shoot - another influence was hairs in the gate, scratchy footage, jumpy cuts and mistimed claw action etc... Marc did a great job dragging the print through the gutter as you can see 2000 word essays please - danke :lol:

Another goodie straight from Bolex: http://www.apecity.com/manuals/bolex_lense...6mm_cameras.pdf

As you can see there are many solutions - all working for each individual for whatever reason ... What I suggest is you study up on stops, ASA and some math (reciprocals and Log base2 in particular) and/or just shoot some footage and see what happens, you'll soon work out how it comes together and be able to distill your own rules from your knowledge rather than reading all the gumph on the net (as good, bad, confusing and contradictory as it may be) ... then forgetting it the next day.

No, a stop is too much (but still within the capabilities of negative stock anyway). Light loss is around %18 - as in %18 of what comes in is lost - not %50 So I dunno (actually I did once, but now don't worry so much) go for a 1/3 of a stop or so - just a sneak ... You have many other things to think about that are more important than this ;)

prism light loss - ugh - searching for info is a nightmare of contradictions and 'rules' ... In the end though considering the range of negative stocks its not actually that much and most Bolex users (run/gun/fun) could just forget about it and not notice. That being said you want to a professional and actually know whats going on ? Well, you have to get out your Log2 calculator to convert percentages into Log2 compensations - its ass math that aint going to translate into anything practical with a meter like yours (maybe on something with filter factors and shutter angles like the digital sekonics etc...) I did some threads on it a while back, prob just adding to the myth ... So anyway, after having learned all this 5th dimension quantum entanglement people just revert to sneaking the iris a little more open anyway ;) If you dont mind telling >> what is mission-critical about your Bolex shoot ?

If you have the time and tools: http://www.cnczone.com/forums/index.php

Most still films have anti-halation layers as the same effect would happen in a still camera - the Chinese brand 'Lucky' is sought after for its lack of anti-halation for those who like the effect... So the films shot with Velvia transparency - 'What Dreams May Come' for instance ... Was that a special cine brew of velvia ? (as would be the 16mm Velvia's available online ?) I'd certainly love to able to shoot Ilford 3200 B+W in cine - Or for instance Rollei R3 which depending on developer can be rated from 25-6400 ASA ... The recently discontinued Kodak IR films (HIE etc...) would be interesting also, but due to the speed perhaps would only be used for timelapse anyway - anyone know of any cine examples ? It seems that for color its mostly stills people wanting to shoot vision2 and its the remjet causing an issue for them. Grass is always greener ;)

The effects I noticed could have been done in post but are possible at the front end also. Faked/real Tilt easy enough in post or front end yes - the funky bokeh (scope-esque yet sideways and occasionally truncated ellipses) harder in post but again could have been done front end by playing with the lens apertures - everybody ready for some mild lens surgery? yeh!

extrapolate