User manual BOLEX 480 MACROZOOM

[. . . ] Contents Your camera is supplied with: 1 sunshade (thread: M 55 x 0. 75 mm) 1 rubber eyecup 1 lens cover 1 flexible cable release with locking crown 1 shoulder-strap 1 key for retracting conversion filter 1 grey filter (4 times) 1 flash-shoe 1 cap for the conversion filter retraction slot Adjusting the eyepiece. Filming with remote-control cable Electronic running control ActionLight ® Footage counter . Framing the subject Focusing Fixed focus setting Depth of field Automatic exposure system. Modification of the time of reaction of the diaphragm Manual correction of the aperture Locking the diaphragm Fade-ins and fade-outs Filming in daylight and artificial light. [. . . ] c N. B. : By turning the camera towards a more or less luminous zone as desired, you can lock the diaphragm at any setting you wish, which is equivalent to manual setting of the diaphragm. 13 Fade-ins and fade-outs Fade out: a gradual darkening at the end of the scene to indicate a change of time or location. Fade-in: a film that starts suddenly with a title or a bright scene does not look as pleasant and professional as one that gradually changes from dark to light by a fade-in. If two scenes of greatly different brightness follow each other, end one with a fade-out, start the other with a fade-in. Your camera allows you to make fade-outs and fade-ins by slowly closing and opening the diaphragm. These dissolves naturally can only be obtained if the diaphragm is not already closed down too far. The maximum effect is achieved when the aperture is f/5. 6 or larger (i. e. If the diaphragm is closed too far (f/8 - f/11 - f/16), you can use the neutral grey filter supplied with the camera: this opens the diaphragm two stops more without affecting the exposure or color. At an aperture of f/5. 6, the length of a dissolve is about two seconds, when the projection speed and the filming speed are identical. A B To make a fade-out: check the diaphragm aperture and, if necessary, place the grey filter on the lens; push preselection tion «on»; button(A) to posi- film normally and, at the end of the sequence, press on the «start" key (8) until the diaphragm scale is at the end of its run (red zone), and then immediately let go of the release; release the «start" key (8); do not forget to reset the preselection button (A) to «off". 14 Filming in daylight and artificial light To make a fade-in: check the diaphragm aperture and, if necessary, place the grey filter on the lens; set the preselection «on»; button "A" to Synchro-flashl synchro-sound socket look through the viewfinder, press the start key (B) until the diaphragm scale is at the end of its run (red zone); press on the release and, at the same time, let go of the" start" key (B); the diaphragm opens slowly until it is at the working aperture, and you can continue to film normally; after completing the sequence, do not forget to reset the preselection button "A" to "off". The camera is equipped with a conversion filter which is normally in position and the camera therefore set for filming in dayliqb]. For indoor filming, the movielight can be mounted on the camera by inserting the base of the lamp into the slot on the camera. This moves the conversion filter out of position, thereby assuring good color rendition in artificial light scenes. If artificial light scenes are made without the light mounted on the camera, insert the key, supplied with the camera, into the slot to assure proper position of the filter. The same socket can be used for synchronizing an electronic flash or for connecting up a tape-recorder. Filming with electronic flash By single-frame filming with an electronic flash plugged into the socket provided for the purpose, you can film poorly lighted static subjects, obtain time-lapse effects (growth of a flower, for example), etc, The possibilities open to you depend to a large extent on the electronic 15 Macro shots flash you use (number of flashes between two recharges, strength of flash, etc. ). Do not forget that a scene lasting only 5 seconds on projection requires 90 frames at the rate of 18 frames/second. Take the following precautions: To mount the electronic flash on the camera, use the flash-shoe provided for this purpose, which slides into the slot located on top of the camera and intended above all for holding the key for retracting the conversion filter. We recommend you to make a few test runs before filming an important sequence with electronic flash for the first time. Synchro-sound filming '1/ ! I I I r 8 . --. . . . . . . 10 12 14 18 mount the camera on a steady support (tripod); determine the correct aperture based on the electronic flash unit and its distance from the subject by means . of the following formula: diaphragm = guide number distance in feet Example: guide number 80 distance 10ft. The contact used for the synchronization of an electronic flash gives off one impulse per frame and can also be used for connecting a tape-recorder for synchro-sound recording. Your photographic dealer will gladly give you information concerning the different possibilities. I 7\ macro < 25 1, 5~)' / / ~ ~ = f/8 10 Lock the diaphragm at the aperture determined by the formula. N. B. : since the optical system in Super 8 cameras has a greater light loss than in still cameras, it is recommended to use a film sensitivity half the rated speed (ASA 20 instead of 40) when determining the guide number. After pressing the macro button, the zoom knob can be turned either by hand or with the power zoom motor into the macro range, thereby extending the focusing range from infinity down to where the lens touches the subject, covering an area approximately an inch in size. When the zoom knob is in the Macro zone, the lens is set to wide-angle position, which ensures greater depth of field and good picture steadiness even if you film holding the camera in your hand. 16 Care of camera Width of area covered (inches) Distance, subject to front of lens (inches) In the Macro position, the coincidence rangefinder is also used for focusing. [. . . ] · Single-frame filming also enables you to lend movement to inanimate objects. You will, for example, become the magician who breathes life into a doll. Perfect camera steadiness and unchanging framing are absolutely necessary. Take four to five pictures of the doll in a given attitude, then slightly alter the position of the arms, legs and head, according to the movements you want it to perform, and then take another four or five shots; change the position of the doll again, film, and so on. [. . . ]