User manual BOLEX H CAMERAS

[. . . ] If service is required, return your camera to the Bolex distributor in the country concerned. He is authorized to carry out repairs, adjustments and maintenance work. In any correspondence, please remember to quote the serial number engraved on the base of your camera. Note The Bolex H 16 SB is designed for 100' reels only. The specifications of the two models are otherwise identical. II: 2SSy. 3' Contents Get to know your camera 7 8 9 9 10 11 12 13 16 mm films The reflex viewfinder Optical equipment Attaching bayonet mount lenses Attaching "C" mount lenses Distance setting Diaphragm setting Filters loading 27 29 29 30 Inserting the film Footage counter Frame counter Audible signal Unloading 31 32 When the film is fully exposed When the film is only partly exposed Camera operation 16 16 17 18 19 20 21 23 Winding Filming speeds Releaseselector Electric motor drive Hand cranking Variable shutter Dissolves Double exposures Practical advice 33 34 35 35 36 36 37 38 39 40 42 44 Camera stability Film composition Panning shots Lighting Editing and titling films Adding sound to films Animation technique Cartoons Macro- and microcinematography Faulty films and their causes How to look after your camera To complete your equipment 3 Get to know your camera 1 2 Footage counter Lever for disengaging spring motor Spring motor winding handle-spring run: 28 sec. [. . . ] Stop filming when the frame counter reachesthe number noted under point 7. od for such se uences and; if' ossible, have an assistant. In special cases, where picture sharpness is more important than steadiness (such as frame-by-frame analysis of scientific phenomena, sports contests and motion studies), it is an advantage to be able to reduce exposure time, without changing filming speed, as this diminishes the blur caused by a moving subject. Increased picture sharpness is especially useful for projection on wide screens. To safeguard against the risk of jerkiness, due to the shutter being partially closed, the filming speed should be increased-for instance: to 24 f. p. s. or over when filming with the shutter half closed. Loading Now that you are familiar with the various features of your camera and know how they are operated, you are ready to start loading. To avoid exposing the edges of the film to light, the camera should be loaded in a dimly lit place, well away from sunshine. Move the selection knob (3) until the number corresponding to the desired filming speed faces the red dot. Wind the camera (page 16). 2 26 13 Inserting the film Turn the lid opening knob in the direction marked by the arrow 0, then lift off the lid. The inside of the camera is as shown in the illustration. Prepare to load the film as follows: 1. is locked and that ~ 1\ 2. Remove the empty spool from its spindle by pressing ejector (b) and place the spool holding the film on the upper spool shaft (film should run in the direction indicated by the engraved arrow). in the film gate, the dark, shiny side of the film (the backing) should face towards the back of the camera and the light matt side (sensitized) towards the lens. 3. Using the film knife, cut off the end of the film diagonally between two perforations, as shown in the illustration. Holding it firmly so that the film cannot unwind, place the full spool in its metal container. 31 When the film is only partly exposed A lartly exposed film can be removed from the camera as ollows: 1. appears opposite the white line in the mask. To replace a partly exposed film in the camera: 6. Press the release until the footage counter reaches the figure already noted. Before beginning to film, it is advisable to press the release and run the camera for a second or two, to avoid the risk of double exposure. --- /'~j 4. Do not forget to open the variable shutter before beginning the new film. 32 Practical advice Do not start filming before having thoroughly read this booklet and studying the operation and various settings of your camera. Here are several rules we suggest you follow when shooting your first films. The camera should be held absolutely steady for the slightest jerk is amplified on the screen and results in unsteady pictures. Rest the camera against the forehead or cheek, stand with the legs wide apart and, where possible, lean against a firm support, such as a wall or tree trunk. 33 Film composition A good film is generally composed of ooth and coherent u S0 0s scenes. Depending on the subject, scenes should avera e between rve e seconds. If the action to be filmed lasts longer, divide it into several shots, taken rom different an les and distances (long shots, medium shots and close-ups). n this case, use a zigzag approach rather than advancing In a straight line or the esulting impression will be that the subject is leaping towards the camera. , JJ~l··~m~'~'l1l5j ~ ft' - If the camera stogs while you are filmin% change your position before continuing with the same scene so that the interru tion will e less obvious. Get in habit of rewinding the camera after each scene, however short. 34 Panning shots If no tripod is available, use a grip and rest the elbows on a firm support. Lighting Front or side lighting gives excellent results with colour films, back lighting can be awkward. [. . . ] Automatically and smoothly opens and closes the variable shutter, thus permitting professional quality fades and lap dissolves. Recommended for normal or single frame filming when absolute steadiness is required. It is always advisable to use an exposure meter, particularly when filming in colour. The Bolex lightmeter is designed for motion filming and especially calibrated for use with your camera. 45 Bolex matte box. [. . . ]