Herb Montes

There is a Russian version that uses a similar magazine and here is the page on how to load a magazine: http://www.geocities.com/russiancamera/16m...-16-s3-film.htm

The tripod base should be rectangular for the M4. There should be several tripod holes for 1/4" and 3/8" screws. Another way to tell if yours has the 1:1 drive shaft along with the 8:1. The M4 has the 1:1, I don't think the M3 does.

It's an M model. If it has the flat bottom it's an M4. If it has the round bottom then it could be an earlier M3.

I want to adapt various motors to my 16mm Mitchell. For this I need the motor mounting plate like the kind the Tobin drive is mounted to on my current Mitchell. I want to even build a handcranked version. So I'm looking for non-functional Mitchell motors to strip the mounting plate from them.

Having worked for a university film library I can tell you educational films suffer from many splices, scratch marks down the center of the frame, and even torn sprocket holes we would repair with tape. I have even seen film torn lengthwise which meant applying a long strip of splicing tape to keep the film intact.

The pins on the 16mm are quite small. I thought I saw something that held the registration pins in, like setscrews or something. I'll have to take some time to inspect the mechanism closely. The pull down pins may not be as accurately made.

I'm hoping I can find a technical manual on the 16mm Mitchell. I did see some data on the pin types in my old Cinematoraphy manual. I'll have to see how the pins are installed on the mechanism. Since they are symmetrical I would think if I had to I would turn the pin holders around to make sure I have the pilot pin as the one used.

I want to see about converting my 16mm Mitchell to single perf. There's just not enough double perf filmstock available. From what I can see removing the extra pins seem easy enough. It's the big sprocket where the extra rows of teeth have to be removed. At least it's one sprocket, everything else are guide rollers. As for Super 16mm repositioning the turret may be a lot of work as well.

Selling this camera since I don't really use it and don't have the room to maintain a collection. I would rather have a 35mm Mitchell anyway. 100 foot load 35mm movie camera made by National Cine Laboratories of New York. Has a DeVry mechanism inside. Rack-over lens mount customized to take Contax rangefinder finder type lenses. Includes case with the words Chicago Sun painted on it. Probably circa 1930's used to film local newsreels in Chicago. Includes handcrank for winding clockwork drive or for handcranking directly. Crank also fits DeVry 35mm cameras. Russian made lens included. Still functions well but not shot any film with it. Will include a bunch of empty 35mm 100 foot spools with cans so you can spool your own loads. Very solid metal body. Can be adapted to electric drive. http://www.hmontes.com/Sites/cine35mm.htm Picture of the outfit with case can be provided. Make offer but would like to get more than $500 for it. Email me directly at: herb_montes @yahoo.com

I have the 85-2 and can position the viewfinder just about anywhere. I have fitted this lens to other cameras besides the Bolex. It does sometimes place the zoom control at an odd angle since it is a lever rather than rotating a zoom ring. I don't have it with me right now but the "Bolex Bible" by Andrew Alden may have more information on the Pan Cinor 70.

I compared the Sopelem compact zoom with an Angenieux zoom on my animation stand using a closeup diopter and a Bolex gate prism. When I zoomed in on my field guide grid I found the Sopelem exhibited a lot of pincushioning at the 75mm range while the Angenieux was much better zoomed in. I also have a heavy 10 to 100 mm Canon zoom I haven't tested yet. It seems too heavy for the Bolex Rx turrent. I need to get some sort of support for it.

There is the 17mm to 75mm compact zoom (Pan Cinor, Sopelem, etc. brands) but it has a f-stop of 4.0 so it's not good in low light situations. I got one on my Rex5. You can see it in this picture between the camera and matte box.

The three models are the single lens 240, the twins lens 240T and the three lens 240TA. There is also a 240EE which I believe has a single lens and an automatic metering system but I don't have that one. The manual I have covers the three models I have. Looking at Michael Rogge's site: http://www.xs4all.nl/~wichm/cinelist.html#A The model 240 seems to be from around 1957. I'm having to rescan the manual since the some of the files got corrupted. I will probably put it up on a free file download site so anyone can have a copy.

Whoa, $60 for an original manual? Guess the one I got is worth something. :blink:

I have three of these model 240s and manuals for them. I have one scanned I can email you. I have the single lens, the twin lens and the three lens model.

The Kiev is small but it's also noisier than your average 16mm. Unless you wrap it with a heavy coat it will get noticed. And something wrapped in a coat with a pistol grip will definitely attract attention. Watch out you don't get tased, bro.

I have a Kiev 16-UE though the picture you show is of the clockwork version. The UE is electric powered using about 12 AA batteries. I bought mine from Olex and he provided a special connector so I can run the camera off an AC adapter or a larger battery. I shot one roll of Fomapan with it and the camera is very noisy but it does shoot decent pictures. It uses a mirrored shutter with propriety screw mount lenses. The film spools are side by side but not difficult to load. It comes with a pistol grip so it can be used handheld. It is about as heavy as a Bolex but has a low profile. I really think the Kinor 16-SX is a better choice coming with interchangeable 100 foot or 400 foot magazines. Olex can provide variable speed and crystal speed motor modifications.

There is a small chart on compensating exposure for the Bolex prism on this page. Scroll down until you see it. http://bolexguy.com/Directory.html

The Texas Gulf Coast, south of Houston. As for the Mitchell just be patient and it will all come to fruition. I got my Mitchell from lurking at the Stop Motion Animation forum. A few 35mm Mitchells have shown up in the classified board there when animators would retire their film cameras in favor of digital ones. And a few do show up on eBay at times. In the past month I saw two 16mm Mitchells sell for around $500 in auctions.

They're out there Nate, waiting to be discovered. Last year when I was in the market for a 16mm one with an animation drive Bill Reiter at ProVid in Dallas offered me one for $2,500. Send him an email. He might have one for a good price: ProVidFilm@aol.com

Looks like a basic rackover Mitchell. Great cameras, I own a 16mm model myself (with a Tobin motor). Sam Dodge has the model #390 on his website: http://www.samdodge.com/html/mitchell360/FrameSet.htm

I suggest using the 8:1 shaft. Turning it twice per second gives you 16 fps or silent film speed if that is the effect you're going for. So expose for around 16 fps speed. Turning 3 times per second to get 24 fps or sound speed is possible but you'll wear your arm out quickly.

Well nothing wrong with handwinding. But after shooting 400 feet of film in one day handwinding a Bolex M4 I wanted something better myself. So I ended up getting a CP-16R.

This motor is one of several that can run the Rex4. They are quite common on eBay. You would need to get a battery pack for it. I have a question though, why are you handcranking your Rex4? Is the spring drive broken?

I have a copy of the Professional Cameraman's Handbook, Fourth Edition, which has a section on the Moviecam Compact. Don't know if this is the same camera. Amazon still has this book in stock for about $74.