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Bolex vs. Beaulieu


Derick Crucius

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I don’t mean to offend anyone or disrespect the legacy of Bolex, but I can’t seem to grasp why it is such a preferred camera over the Beaulieu r16. For one, the r16 doesn’t use a bogus prism that requires special lenses that are ridiculously priced. It also has a brighter viewfinder, is lighter, and can do longer takes without having to attach a bulky and awkward motor. Am I missing something here? Being a bolex owner myself, I am feeling more and more inclined to make the switch to a Beaulieu. I know the Bolex is spring driven, but that can’t be the only selling point.

Perhaps someone could shed a bit more light on this who has more experience with an R16?

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I've only worked on a couple of Beaulieu R16s over the years - from that experience and from what people have told me they seem to be OK cameras. I can think of a few reasons Bolexes might be used more though.

I think there are many more Bolexes around than R16s, and many more people familiar with servicing Bolexes and access to parts.

Like certain other French products, the design is very clever but perhaps not always as reliable or durable as Swiss or German designs. As Greg pointed out, the gate is not as accessible, and the whole interior seems a bit dinky and plastic compared to a Bolex.

The custom handgrip battery is a bit of a pain to recell (although admittedly many 16mm cameras have custom on-board batteries). While spring motors only run for a short time per wind and are not very accurate in their speed, the freedom of not having batteries is something of an old-school joy. Almost all the Bolexes I receive for servicing are spring-powered ones. (There are spring-motor Beaulieu R16s too, but they are much rarer than Bolexes).

The combination of simplicity (less to go wrong) and yet still packed with features (variable shutter, auto-load, dedicated reverse claw, instant and time-release single frame options, filter slot, etc) makes Bolexes quite attractive to artists and students. The flat base ones in particular are stable and easy to mount, as opposed to the Beaulieu base.

High speed C mounts of any flavour tend to be over-priced these days, not just RX ones. You can use normal lenses on a reflex Bolex stopped down to around f/2.8 or beyond without any issues. 

This old thread talks about some Beaulieu R16 user issues:

https://cinematography.com/index.php?/topic/1426-what-are-your-thoughts-on-the-beaulieu-r-16/

 

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Must not compare directly. The Paillard-Bolex H was developed in 1930-31, the Beaulieu Reflex in 1957, a quarter century had elapsed. Initially it was a spring-drive camera, the electric models are still younger.

Something a Beaulieu does not offer is the critical focuser in conjunction with camera rackover. By that you can use any C-mount lens on the H from infinity down to until the object touches the lens. The rotary shutter affords even exposure whereas the Beaulieu up-and-down shutter produces overexposure of the frame towards the upper edge, the bottom of the projected image, and underexposure in the other direction. Not much, but it’s a fact.

The Beaulieu have 100 percent light in the reflex finder. I could go on with the comparison I said is a sin, in the end it’s a matter of taste.

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The body shell of the Beaulieu is very soft metal and deforms rather easily if impacted. On the models with three lens turret, these also can often get deformed. You will be hard pressed to find many Beaulieu cameras given to students in film schools. They wouldn’t last very long. Bolex cameras are used almost universally in beginner classes.

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Well, Derick, you lucked out with some tremendous detailed responses from three experts in the field. I understand the attraction to the Beaulieu but the Bolex is one heavier robust battle ready simpler camera for the masses and inglorious film students. It just works and can be serviced so much easier than the more fragile Beaulieu. Does your Bolex have the 10x or 13x viewfinder? The 13x viewfinder significantly improves the Bolex experience. It's not a lightweight alternative to the spring motor but have you heard of Tobin "digital' motors for the Bolex? 

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Thank you all so much for taking the time to give such informative responses. You are right, Nick and I'm sold on keeping my bolex. Unfortunately it is equipped with the 10x viewfinder, but I suppose I could always get it upgraded in the future. It is a Rex 4.

As for the motor, I have heard of the tobin motors and they seem to be pretty great. I currently acquired an EM motor, but havent used it on the camera yet. I need to make sure I attach it correctly, it seems pretty straightforward though. 

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If you are exploring art with single frame, variable shutter, or DIY optical printer, then the Bolex is the camera. The R16, if you take the battery handgrip off is very small and light. Would be a great camera to clamp on an aircraft or racecar. But maybe Dom and Jean-Louis are right, it's more fragile.

There was an amazing film made by (or about) Salvador Dali.  A small geodetic dome full of cavorting, pretty young people...Dali was there and threw the running camera into the air. Looked very cool.  I always thought that you could wrap bubble wrap around an R16 and do that. If the cameras were cheap enough, you could have several waiting.

A while ago on the forum I bumped into Dennis Couzin.

He had previously made a book on "Optical printing for artists"....He "collected a gallery of pictures of homemade optical printers". Does anyone have that..?

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There have been some fine films made with the Beaulieu, including the work of Mike Jittlov, aka "The Wizard of Speed and Time". My observation vs. the Bolex is that the ergonomics of the R16 are amazing for handheld work, but quite the opposite for mounting on a tripod and adding a magazine. The tripod mount is under the fat handle and there's not a lot of area to help with stabilization. Add to that the mag seated on the curved top of the camera, at full height the whole thing becomes wobbly. The Bolex at full height is not much better, but at least you've got a flat base with the later models.

Additionally, as I understand it, converting the R16 to Super-16 is very difficult. You also can't argue with the track record of the Bolex' claw design (the "trailing claw") and I think the R16 has a very simple claw. That Beaulieu viewfinder is gorgeous to look through, though.

 

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The Mitchell 16 is a heavy brick, not the Paillard-Bolex H. If you say “the Bolex”, I understand this:

1433803611_BolexBwithcrank.jpg.29c1887de8a05c60b6e0f6ef46da2664.jpg

Simon is niggling because “Bolex” stems from Mr. Bogopolsky who came from the former Ukrainian town Bogopol, Pervomaisk since 1920. Together with Charles Haccius of Geneva he held the trade mark Bolex since 1924.

Ernest Paillard & Cie, an entirely other company, bought the whole Bolex business from Messrs. Bogopolsky and Haccius in 1930. Sale of Bolex cameras and projectors (similar to DeVry and Kodascope B) was continued until 1935 and 1936, respectively. The Paillard-Bolex H camera was quite different from the Bolex Auto Cine Cameras.

  • 190 degrees opening angle of a disc shutter vs. 144 degrees of a drum shutter
  • spring-loaded cardioid-cam driven single claw from behind film vs. rigid simple excentric double-side claw from front
  • two sprocket rollers vs. a single one
  • automatic film threading system vs. manual threading
  • clutch allowing disengagement of mainspring for unlimited film transport in both directions vs. forward run only
  • single-frame switchgear for instant and time exposure vs. no such thing
  • speed variation from 8 to 64 fps vs. only 16 fps
  • turret holding up to three interchangeable lenses vs. permanently built-in (1 inch) lens
  • detachable trifocal finder, all parallax eliminated when put on lid vs. parallactic finder
  • both main frame and lid die-cast parts vs. hinged sheet metal door
  • continuous counter working also backwards vs. stepping forward-only counter

There are more heavy bricks among the 16mm cameras, I should speak of ETM-P, Arriflex 16 M and BL, Debrie CX and SINMOR, Nord, Auricon Super 1200, Kodak Reflex Special, Tolana, Panaflex-X 16, Fearless 16.

Not the H.

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I think both cameras are beautiful and cater to specific needs. I do a lot of street shooting and although having something lighter would be fantastic, I’m not more convinced that it’s better to have something more robust and durable to suit how I capture images. 
 

speaking of beauty, does anyone know where to find one of the h16 Rex 5 cameras that are all black without the chrome? They are simply stunning.

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Dear Derick, some R16 have an automatic exposure or and all a TTL exposure meter, so with the battery handgrip it is very suitable for street shooting.  The Bolex is much slower and the spring drive mostly leaves you alone when the situation is on the peak. Have a nice rendezvous with the 25 years younger French lady, you  won't regret it!☺️

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  • 9 months later...
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19 hours ago, Raymond Zananiri said:

Does anyone know what voltage is needed to power the Beaulieu R16? Is the connector on the camera a typical 4 pin connector for 12V?

There are alternatives to the handgrip battery, right?

These are easily googled questions.

Voltage is 7.2V, but up to 8V is OK, and even 6V works for speeds up to 32fps:

http://www.vintagecameras.fr/images/MonSite/BEAULIEU/R16_Electric/_Doc/Beaulieu_R16-Electric_Manual_en_Revu.pdf

The connector is a 3 pin DIN:

https://sayyes2analog.wordpress.com/2018/06/17/beaulieu-external-battery/
 

You can easily wire up an external battery with a DIN connector.

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