Bolex Paillard H Instruction Manual
Contents
1. 16 mm film double 8 film A SOSE O INSTRU for Paill S Page 3 Foreword Eq 4 Loading the can Previous to H8 cameras 6 Film drive mech Footage co Filming sp filming spee 9 Use of operating Intermittent frame operu reverse 11 Unloading the ca o Special not partially ex 13 Lens turret with 14 Octameter View 16 Trifocal Viewfinc 17 Device for critic 19 Eye level Focus 21 Filter slot and f Instructions white films Lenses Standard ler INSTRUCTION MANUAL for Paillard Bolex H cameras Summary of Contents Page 3 Foreword Equipment 4 Loading the camera Previous to loading Automatic loading Film check on H8 cameras 6 Film drive mechanism Footage counter Audible signal Frame counter i Filming specds Dependence of diaphragm setting on Fig 3 Octameter Viewfinder filming speed 9 Use of operating controls Intermittent running Continuous running Frame by frame operation Use of cable release Handcranking in reverse Electric motor drive 11 Unloading the camera Special notes on double run 8 mm film Usloading a i partially exposed film 13 Lens turret with interchangeable lenses 14 Octameter Viewfinder icai 16 Trifocal Viewfinder 17 Device for critical focusing on groundglass 19 Eye level Focus for H16 and H8 cameras i 21 Filter slot and filter slides Instructions for use of gelatin2. filter as follows 21 E EER O Fs EE Ae eoe pre ETRAS Ah Aa T aa nanii iaia aE ube ya TIND BEE 2 ha A SA T ana iiae eect 1 Kodak Wratten 1A Skylight filter Il a x 85 Daylight filter 1 Y 8K2 yellow filter Te 235 15G yellow orange filter Is 435 Ra 25A red filter The filters are prepared as follows Remove the cylindrical clamp fastening the filter slide togeth er separate the two side plates and take out the spring clamp that retains the filter in posi tion Instructions for use of gelatine filters Warning Handle the gelatine sheets or ready cut out filters care fully by picking them up at the edges as fingerprints once made cannot be removed lt 2 Without removing the protect ive paper covering cut out a rectangle size 18 mm x 15 mm l a in the gelatine sheet using a pair of sharp scissors 3 Gently insert the filter just cut out into the rectangular recess in the plate Lay the spring clamp on the edge of the filter and fit on the second plate Then fix the fastening clamp in position Always keep the mounted filters in their case away from dust when not inuse 22 Filters for black and white films Wratten filters 8K2 15G and 25A are intended to heighten the contrast between different colors translated on the film as various shades of grey When these filters are used the diaphragm aperture must be increased as compared wit
3. is used E g For a filming distance of 10 ft the Yvar 16 mm s focusing ring should be set to 7 ft On the other hand the available depth of field will still correspond to that for a shooting distance of 10 ft ie 4 8 ft to infinity if the diaphragm is set to f 2 8 This correction is only required at apertures from f 1 4 to f 2 8 furthermore it should be noted that in the case of the telephoto lenses and of the Pan Cinor 16 mm lens a correction is practically speaking not necessary 24 f 25 or 26mm A B oo mM 78 50 14 10 64 5 39 3 26 2 18 15 1 4 12 11 1 0 95 0 9 086 0 8 0 77 0 7 068 A Filming distance measured from Filmplane B Distance to be set on the lens f 16 mm A B m7 10 4 2 5 3 2 16 1 ag a7 064 05 047 04 038 0 35 Q34 03 0 29 f 50 mm scale when using a slide filter Lenses Standard lenses These lenses are most generally used and will be found suitable in the majority of circumstances H16 camera focal length 1 25 or 26 mm H8 camera focal length 144 12 5 or 13 mm Wide angle lenses These lenses are used in cases when the moviemaker wishes to shoot a wide general view of the scene in which the action is taking place or when obstacles in the way prevent him from moving back far enough to obtain a good view of a given subject such as a monument or other building or an indoor scene H16 camera focal length 10 to 16 mm H8 camera foc
4. of the counter see Fig 11 towards 0 Frame counter The frame counter will be found particularly useful for shooting films of a scientific character for producing various kinds of trick effects fades lap dissolves and so on and for filming still subjects of all kinds frame by frame animated cartoons puppet films etc Upper dial The upper dial adds the frames in forward motion and subtracts them in reverse motion It is graduated from 0 to 50 frames Bolex H16 cameras from 0 to 100 frames Bolex H8 camera Lower dial The lower dial tofalizes the frames in forward motion and subtracts them in reverse motion It is graduated in 50 s up to 1000 frames Bolex H16 cameras in 100 s up to 2000 frames Bolex H8 camera Beyond these figures the cycle starts again and the totals shown by both dials must be added to the 1000 or 2000 frames already totalized Do not pay attention to the positions of the disks with respect to one another but only to the figures shown on the dials It is easy to check at any time whether the frame counter readings refer to a first or second cycle by merely consulting the footage counter Remember that 1000 frames of 16 mm film correspond to 25 ft 7 62 m of film 2000 frames of 8 mm film correspond to 25 ft 7 62 m of film or in other words 1 metre of 16 mm film contains 131 23 frames 1 metre of 8 mm film contains 262 46 frames The figures given fo
5. take care first to obtain from your usual dealer a list of the official Bolex distributors in the countries that you intend to visit If your camera should require servicing at any time contact the Bolex distributor in the country you are visiting Remember only an official Bolex distributor is qualified to undertake repairs to your camera If you allow repairs to be made by other persons without the specific authorization of a Bolex distributor you forfeit your right to the maker s guarantee 36 Po Shaper 3 E aaa Weare climates both camera and film ng in tropical regions spools are available on camera proper for the Jeaned thoroughly and uses should be treated tan Tymol and so on giving rise to bacterial Id not be stowed away i be freely exposed to e left unused for some it should be protected a suitable desiccating o on has been placed uly however in order the leather or the film stable Care should be ito the equipment your supplier on the mention this number with lid removed and to disclose number obtain from your usual the countries that you servicing at any time re visiting Remember o undertake repairs to other persons without you forfeit your right Fig 5 29 30 31I 32 33 39 at 40 41 Fig 8
6. 6 a fade out can be produced very simply by merely closing the diaphragm at a steady rate while shooting is in progress to produce a fade in start with the diaphragm stopped fully down and open it gradually If lighting conditions do not permit of this place a neutral density filter over the lens and open the diaphragm sufficiently to compensate for the light absorbed by this filter j The diaphragm cannot be closed entirely Therefore cover the lens with the hand before starting a fade in or at the end of a fade out A fade usually lasts about 3 seconds Totally closing iris diaphragm This is an attachment which when mounted in front of the lens acts as a mask with a round opening the size of which can be altered at will The extent to which the iris is opened or closed governs the amount of the subject that can be seen The diaphragm can be closed gradually at will until it is completely shut Lap dissolves Whereas fades are used to mark a distinct break between one shot and the next lap dissolves serve to link up successive scenes the outlines of which may either melt into one another or appear in sharp contrast depending on the effect desired Lap dissolves are produced by superimposing a fade in over a fade out As the first scene vanishes the second gains substance Success in producing this illusion depends entirely on the extent to which the two fades are shot at the same r
7. and J on the viewfinder are placed horizontally the viewfinder is made ready for use with the standard focus lens the focal length of this lens is engraved on the front of the viewfinder at K By raising or lowering levers H and J the viewfinder is adjusted for use with either of the two other lenses on the turret The corresponding focal length is engraved on each lever The viewfinder front lens assembly K comprising the lenses and levers is interchangeable When purchasing a new set of lenses therefore the movie maker can order a new viewfinder front lens assembly to match the 3 lenses which will henceforth be used on the camera However certain unusual combinations of focal lengths cannot be supplied 16 Device for Critical Focusing on Groundglass Bolex H16 Standard and H8 cameras are fitted with a totally reflecting prism which covers a large part of the subject enabling fine focusing to be done on groundglass This prism is mounted in the upper part of the turret mounting plate see Fig 15 and is protected from dust and jolts by a flat headed screw which can be removed by unscrewing it with a coin The image transmitted by a lens placed in front of the prism is reflected by the latter onto the groundglass where it can be conveniently observed through a removable eyepiece see Fig 15 or with the Eye Level Focus see page 19 The groundglass focusing device is particularly useful for carrying out fine focusing of close
8. b 100ft m E After automatically loading the film adjust the position of lower arm 46 in the same way When unloading the camera take hold of the full take up spool tightly to prevent the film from uncoiling then open arm 46 completely i e to position c before extracting the spool see page 11 last paragraph Fig 10 Film Drive Mechanism Footage counter The footage counter 15 in feet or metres returns to the beginning A on the scale automatically as soon as the lid of the camera is removed and only starts registering when the latter is replaced The part of the scale between A and 0 corresponds to the passage of about 4 ft of film in other words of the leader which preserves the coils of film underneath from fogging while the camera is being loaded Press on the filming button 21 until the cipher 0 appears under the red dot on the dial window Shooting may now begin The footage counter automatically registers the length of film exposed An audible signal clicking sound marks the passage of each 21 cm about 8 of film Thus the operator can estimate the footage used to record a scene without looking away from the viewfinder A normal scene shot at 16 frames per second corresponds to 44 about 4 6 consecutive clicks To soften the sound of the audible signal or silence it altogether push the small lever 49 located inside the camera alongside pin 44
9. button 22 on the side of the camera is set to STOP Fig 2 the clutch lever 12 is on MOT and the speed control 19 set to 16 or 24 frames per second i e that the figure 16 or 24 is opposite the red mark Wind up the motor fully by means of handle 25 Cease winding as soon as the stop is reached Turn knob 43 Fig 9 towards O by means of its ring and remove the lid from the camera Push down lever 37 into the vertical position as shown in Fig 8 This closes the loop guides 31 and 39 Make sure that pins 33 34 and 36 are lodged in their respective holes Place the spool of film on the upper spindle 29 so that the film will unwind in the direction shown by the arrow Fig 5 The end of the film must be cut slantwise see Fig 4 between two perforations to ensure that it will pass properly through the automatic loading device and film drive mechanism To cut the end to shape insert it in the cutter 41 Fig 5 and press hard on blade 42 Be careful to eject the piece of snipped off film from the camera Automatic loading 8 10 11 12 Press on the filming button 21 at front of camera at the same time inserting the end of the film fully into opening 30 Fig 8 Maintain pressure on filming button 21 until about 10 or a foot of film has emerged from the lower sprocket 38 Open the loop guides 31 and 39 by pushing up lever 37 Insert the end of the film
10. lens fitted to your viewfinder get in touch with the Bolex distributor stating the lens power required instructions for use To fit the Octameter Viewfinder on the camera 7 lid e Insert hinge pin 5 fully home in clamp 6 amp on the lid Fig 9 e Lift up catch 7 and swing the viewfinder down until pin 8 has fully entered hole 9 in bracket 10 e Push catch 7 fully down in the direction shown by the arrow this locks the view finder firmly in position To remove the Octameter Viewfinder Lift up catch 7 14 e Lift up back of viewfinder to release pin 8 e Twist the viewfinder down about a quarterturn towards the base of the camera thus freeing hinge pin 5 from clamp 6 Fig 9 Adjustment of viewfinder field This is done by rotating milled disk 11 in the appropriate direction The focal lengths corresponding to the various settings can be seen in the small window on the top of the viewfinder and also appear in luminous figures when looking through the eyepiece thus allowing adjust ments to be made while continuing to observe the subject through the viewfinder see Fig 14 Fig 14 The small pointers on the viewfinder aperture Fig 14 facilitate horizontal and vertical centering of the subject Correction of parallax effect The viewfinder is mounted on the camera lid in a position which entirely eliminates vertical parallax effect Horizontal parallax is compensated by t
11. rendered equally well The movie maker enjoys unhampered freedom as regards filming technique and all kinds of lighting effects contrasts between light and shade shots against the light and nocturnal scenes are within his grasp Furthermore emulsions of various degrees of sensitivity are available which is not the case with color film Color films Color films are just as easy to shoot as black and white ones However since color film is more sensitive to small variations in exposure the diaphragm stop should be determined by using a photo electric exposure meter In composing the scene the movie maker should avoid deep shadows the colors themselves already lend contrast to the scene To counteract the prevailing blue tone produced by shadows pa ti cularly in far off scenes shot under a cloudy sky use the Wratten 1 A filter for daylight type Kodachrome film or the Ansco UV 16 filter for daylight type Anscocolor film or the Agfa UV K 29 C filter for daylight type Agfacolor film See the special catalogue of Bolex filters and mounts Indoor scenes To shoot indoor scenes in daylight use a fast lens i e one with a wide aperture and a supersensitive film Choose your setting so as to make the best possible use of what light there is Only flood type reflectors are suitable for shooting indoor films in black and white or in colors by artificial light The amount of exposure required by the subject varies considerably
12. the world over will be glad to advise you as to how to get the best out of your Bolex H camera which can match the performance of the finest professional cameras Equipment Each Bolex H camera is supplied with at least one lens and the following accessories 1 rewinding handle 25 1 hand crank 2 lens hole stoppers for turret 1 flat headed screw for covering prism 1 eyepiece for focusing on groundglass only supplied if camera is not fitted with Eye Level Focus H16 camera 2 empty take up spools 100 ft and 50 ft capacity 1 filter holder H8 camera 3 empty take up spools capacity 25 ft 50 ft and 100 ft The spools for double run 8 mm film have round spindle holes with notch and are marked I and II on the side whereas the 16 mm spools have square spindle holes and are unmarked Preliminary directions Read this Instruction Manual through carefully and get to know your camera thoroughly this will help you to avoid mistakes and consequent wastage of film i e Never run the camera at a speed higher than 32 frames per second unless it is loaded with film as otherwise the mechanism may be damaged Never attempt to rewind the spring motor unless lever 12 is on MOT Loading of Camera Always load your camera in a shady spot in this way you will avoid the light getting in and fogging the edges of the film Previous to loading 1 Make sure that the operating
13. up subjects for bringing telephoto lenses as well as all lenses when used with the diaphragm wide open into sharp focus and also for checking depth of focus prior to filming Instructions for use e Turn the lens turret so as to disclose the prism aper ture Fig 15 and unscrew protecting the prism Turn the turret again so as to bring the lens to be focused in front of the prism Open the lens diaphragm to its widest extent Focus the lens until the subject seen through the removable eyepiece or Eye Level Focus appears per fectly sharp Fig Place the focused lens in i Por for filming in front of the taking aperture and being areful not to disturb the focusing close the lens diaphragm to the appropriate stop for correct exposure 17 ten Note When shooting subjects from very close at hand use of the Parallax Compensator rackover device Code RACKE supplied as an accessory is recommended With this device the lens can be made to take up exactly the same position with respect to the subject when shooting is being done as it occupies when framing and focusing are being carried out with the prism and ground glass 18 Tapma iaae tanec Eye Level Focus for Bolex H16 Standard and H8 Cameras This attachment available as an extra adds to the convenience of the groundglass focusing device by allowing the image formed on the groundglass to be observed from the back of t
14. according to the way the reflectors are laid out i e according to whether 30 the subject is lit up from in front from the side or from behind The lighting arrangements should be modified to suit the character of the scene to be shot To determine the correct diaphragm stop to use consult an exposure table for artificial light or rely on a good quality exposure meter s Pan shots When panoramic views such as broad landscapes mountain chains or architectural views are being shot the camera shouid be moved slowly and smoothly care being taken to hold it absolutely steady so as to avoid any impression of jerkiness on the screen As an example a sweep which involves an alteration of 90 i e a quarter turn in the shooting angle should take about 20 seconds Introduce the sweep with a steady shot and finish it off with another steady shot at the end It is best to set the camera up on a tripod as this makes for smoother pans and steadier pictures Any tendency towards jerky movements can also be diminished by shooting at a higher filming speed than usual say 24 or even 32 frames per second instead of 16 needless to say however this method should only be applied to motionless subjects such as landscapes Single frame exposures Single frame shots snapshots are used mainly for making animated cartoons This technique however can be applied both to still and to moving subjects Moving subjects Set
15. ailable on the market The film should only be left in the camera proper for the amount of time required to expose it be The camera and all its accessories should be cleaned thoroughly and frequently The leather lining and carrying cases should be treated with a special protective chemical such as Septatan Tymol and so on To prevent hot moist air from condensing and giving rise to bacterial growths in or on the equipment the Jatter should not be stowed away in its various cases between takes but should be freely exposed to the air On the other hand when the equipment is to be left unused for some time particularly during the monsoon season it should be protected by putting it away in airtight tins into which a suitable desiccating agent such as silicagel calcium chloride and so on has been placed These chemicals should not be used too liberally however in order to avoid excessive drying which might damage the leather or the film A relative humidity of 35 to 40 is quite acceptable Care should be taken to avoid dropping any of the chemical onto the equipment Camera identification number Should you exchange any correspondence with your supplier on the subject of this camera please do not omit to mention this number which will be found inside the camera casing with lid removed and underneath the fens turret swing turret round to disclose number Servicing and Repairs Before going on a trip abroad
16. al length 5 5 to 7 mm Telephoto lenses These lenses are used to obtain near or close up views of subjects of all kinds such as sporting events wild life scenes architectural details and so on which have to be shot from some distance away H16 camera focal length 2 to 6 50 to 150 mm H8 camera focal length 1 to 3 25 to 75 mm Owing to the additional brightness generally prevailing in distant views the diaphragm should be stopped down one half or one stop lower than the setting one would use with a normal focus lens The following filters will be found useful as a means of reducing the effect of atmospheric haze Wratten 1A or Kodachrome Ansco UV 16 for Anscocolor Agfa UV K29 C for Agfacolor Orange for black and white film Notice The BAGOM adapter ring permits the use of KERN PAILLARD lenses intended for the H16 camera on the H8 camera When used on an 8 mm camera a 16 mm type lens gives the same size of image as that of an 8 mm lens of the same focal length however halving its field of view 25 iiaa cine l ia o namie sg ii a Shooting a film When the camera has been loaded and the leader has been run through i e cipher 0 appears against red pointer on footage counter shooting can begin The various operations entailed should be carried out in the following order 1 Wind up the motor 2 Select an appropriate shooting angle adjust the field of the view ler according to the am
17. ate and for the same duration which should be about 3 seconds i e 48 frames at 16 frames sec for black 33 te me ae rae and white film or 114 to 2 seconds i e 24 to 32 frames at 16 frames sec for color film e First make a note of the frame counter reading Then shoot the fade out of the first scene Next put the stopper on the lens and crank the camera in reverse motion for the number of frames corresponding to the fade out i e until the frame counter again registers the reading first noted Remove the stopper from the lens Start the camera running again and shoot the fade in for the next scene Lap dissolves can be produced by closing and then opening the camera diaphragm by using a totally closing iris diaphragm or by inserting masks such as opaque screens of increasing and decreasing density in front of the lens 34 Upkeep Lenses All the outer surfaces of the lenses should be kept absolute clean To clean them use the special soft tissue paper sold in photo stores The tenses should not be constantly rubbed as this might damage the anti reflex coating Put the dust caps on the lenses between scenes and when the camera is no longer needed stow them away from damp in their Paillard Bolex cases Special care should be taken to avoid dust or fingerprints getting into the glass surfaces perspiration is harmful to glass Camera The interior of th
18. can be used for imparting motion to dummies puppets etc The same procedure can also serve for animating drawings designs graphs movie titles and so on Care should always be taken in such cases to distribute each movement of the object concerned over a sufficient number of frames to ensure a smooth transition Time exposures Certain kinds of still life subjects may be shot one frame at a time using time exposures when the light is exceptionally poor interior views of churches and museums paintings architectural details nocturnal views and so on The camera must be set up on a tripod the diaphragm set according to the depth of field required and the camera operated by means of the cable release which must be pressed down for the length of time needed to expose each frame correctly Fades These are made by causing the subject to appear or to disappear progres sively In a fade in starting from a completely black background the picture appears gradually brighter and brighter until it reaches its 32 normal value while inversely in a fade out the picture gradually gets darker and darker until a point of complete black out is reached These effects which are often much more pleasing to the eye than a sudden change of scene are obtained by progressively increasing or reducing the amount of light admitted to the film Use of the lens diaphragm If the scene is being shot at an aperture greater than f 5
19. e camera in which the entire film transport mechanism is housed must be kept absolutely clean A certain amount of gelatine and dust is generally left in the gate and on the pressure pad after some length of film has been run through Such deposits should be removed as follows Open the pressure pad by shifting pin 33 Unscrew the milled knob retaining the other end of the pressure pad and withdraw the pressure pad by pulling it towards you Using a clean cloth twisted around the end of a small wooden stick clean the pad and gate gently particularly around the taking aperture If the gelatine deposit is tacky and hard to remove moisten the cloth slightly wiping off the place carefully afterwards to ensure that it is dry e Put the pressure pad back in place Lubrication Like a high quality watch the Bolex H camera rarely needs to be lubricated When new it contains a reserve of grease and oil sufficient to last for 2 or 3 years When this length of time has elapsed it is advisable to turn the camera in for fresh lubrication to the nearest Paillard Bolex distributor Under no circumstances should any attempt be made to dismantle the camera mechanism 35 Use and care of camera in tropical climates Certain precautions must be taken to protect both camera and film against heat and damp when living or travelling in tropical regions Airtight boxes tropical pack for storing film spools are av
20. e ee Exposure times corresponding to filming rates from 8 to 64 f p s and to single frame shots are shown at the back of the table Exposure meters Photoelectric exposure meters help the operator to determine the diaphragm stop which should be used under various lighting conditions They are suitable for both black and white and color films Depending on the model they measure either incident or reflected light The movie maker is strongly advised to acquire one of these very useful accessories Distance focusing Particular care must be taken in focusing when the distance is short or when a scene is being shot with the lens diaphragm wide open as in such cases the depth of field available is very small First determine the distance to the nearest and farthest points between which the action of the scene is likely to take place Then set the focusing scale to an intermediate value which falls well within the zone of sharp focus as indicated by the automatic depth of field scale on the lens so that the anticipated action takes place within this zone If the lens is not provided with an automatic depth of field scale the required data for focusing can be obtained by consulting a depth of field table corresponding to the lens characteristics Stability of camera The camera should always be held absolutely steady while shooting is in progress The slightest jolting of the camera will be amplified many times ov
21. e filters Filters for black and white films Filters for color films Correction of focusing 25 Lenses Standard lenses Wide angle lenses Telephoto lenses double 8 film na ne nee Oh ee AE REEL RE aN OET E Page 26 Shooting a film Some general principles Winding the motor Setting the diaphragm Bolex Exposure Table Exposure meters Distance focusing Stability of camera Length of takes 30 Hints on filming technique Black and white films Color films Indoor scenes Pan shots Single frame exposures Moving subjects Subjects whose movements are too slow to be seen by the naked eye Still subjects Time exposures Fades Use of the lens diaphragm Totally closing iris diaphragm Lap dissolves 35 Upkeep Lenses Camera Lubrication Use and care of camera in tropical climates Camera identification number 36 Servicing and Repairs Foreword You have just acquired a Paillard Bolex H motion picture camera The name of Paillard Bolex is considered all the world over as a hallmark of technical perfection and precision craftsmanship Before leaving the factory your camera was checked over and adjusted with meticulous thoroughness Like any other precision instrument your camera should be treated with the utmost care Always remember that any one of the countless Paillard Bolex distributors
22. er when the film is projected making the subject appear to dance about on the screen Hold the camera pressed fast against the eye brow ridge if possible leaning the elbows at the same time against some stable object such as a wall or tree trunk Aim the camera slowly and smoothly without jerking and without rocking the body Use of the Bolex Surefire Grip supplied separately is recommended 28 A tripod is indispensable when shooting with a telephoto lens Use the Bolex Pan Head Tripod code PODOM which ensures perfect stability at afl shooting angles Length of takes The length of a take depends on the amount of action involved in the scene and must be determined by the movie maker An average take at 16 frames per second usually lasts some 5 to 8 seconds i e about 3 clicks of the audible counter Although the length of a take can be prolonged somewhat if the action demands this sequences of exaggerated length tend to detract from the interest of the scene It is always possible to shoot lengthy action scenes while remaining within reasonable limits This can be done very easily by merely altering the shooting angle and or distance for each take 29 Hints on Filming Technique Black and white films Black and white film has the advantage of remaining comparatively unaffected by fairly wide variations in exposure Thus on each image the details of the darker and lighter parts of the subject are
23. g code MOSTE can be run off standard dry batteries or off the house lighting current 10 Unloading the Camera Standard 16 mm and 8 mm films terminate with a trailer about 4 ft long to permit of unloading without fogging the film As soon as the film is entirely exposed which can be ascertained by reading the footage counter run the motor a few more seconds to ensure that the whole of the trailer has been wound onto the take up spool Checking absence of film in gate Before removing the lid from the camera make certain that no film is left in the gate as follows Push lever 17 down on T 18 rotate the lens turret a half turn so as to uncover the taking aperture then push the lateral control 22 towards lt P 23 to clear the shutter from the gate If any film is left in the gate readily visible as an ivory coloured rectangle only a single frame will be fogged as a result of this inspection f Open the camera preferably in the shade remove the full spool of exposed film and stow it away immediately in its metal container Special notes on double run 8 mm film The Bolex H8 camera takes 25 ft 50 ft or 100 ft spools of double run 8 mm film The processing laboratory bisects this film down the middle and returns it as single run 8 mm film with a length double that shown on the original carton After it has run through the camera once the film is only exposed on half its total wid
24. h the normal reading shown on the exposure meter by the following amounts 1 stop for Wratten filter 8K2 yellow 1 5 stops s 15G yellow orange 2 5 stops 5 25A red The effect produced by a filter varies according to the make and sensitivity of the film and to the prevailing lighting conditions The correction factors just quoted are therefore not absolute but merely serve as an approximate guide Filters for color films The Skylight filter is used to attenuat exaggerated blue overtones and to improve rendering of colors in shots made in the shade or under overcast skies in views of far off landscapes and snow or high altitude scenes No correction of the diaphragm is needed when this filter is in use The Daylight filter is a conversion filter and is used for shooting films in daylight with Kodachrome Type A film intended for artificial light In setting the diaphragm account must be taken of the fact that color film designed for artificial light when used with the Daylight filter has the same sensitivity as daylight type color film used without filter 23 E OAE Correction of focusing The fact of placing the filters behind the lens slightly alters the focusing setting for a given distance The diagrams oppo site show the positions to which the focusing rings of Kern Paillard 10 mm 16 mm 25 mm 26 mm and 50 mm lenses must be set to obtain perfectly sharp pictures no matter which filter
25. he camera vertically and in the same plane as the viewfinder It provides a brilliantly clear distorsion free image magnified 10 times The Eye Level Focus is made in two models code REFSE for H16 Standard camera and code REFTU for H8 cameras Instructions for use If your Eye Level Focus has been purchased separately carry out operations A to F If your camera was supplied with the Eye Level Focus already fitted only operations C to F need be undertaken A Unscrew the mount containing the magnifier lens located on the upper front part of the camera and replace it by the special magnifier lens supplied with the Eye Level Focus B Slide the Eye Level Focus well home onto the mountings so that its built in prism exactly covers the new magnifier lens Screw the retaining screw V into the rear mounting to lock the instrument securely in position C Unscrew the flat headed screw covering the prism on the camera D If the image seen through the Eye Level Focus appears to be off centre or incomplete the instru ment can be adjusted as follows a b 20 Without placing a lens in front of the prism adjust the Eye Level Focus to suit your eyesight by turning the small milled knob es either direction until the grain of the groundglass surface a i clear and sharp when the camera is pointed towards the light pa made this adjustment will hold good whatever the lens in ne ee need only be revi
26. into the slit in the core of the take up spool wind the film onto the spool about 3 turns and place the latter on the lower spindle 40 Turn the spool by hand in the direction shown by the arrow in order to tighten the film on the core and take up any slack Then run the camera for a second or two to make certain that the film winds correctly onto the take up spool 13 Replace the lid on the camera and lock it in position by turning the locking ring 43 towards F If any difficulty is experienced in replacing the lid do not force it but make sure that the loop guides are open and that pins 33 34 and 36 are properly home in their respective holes In case of incorrect loading remove the film by cranking the camera in reverse see page 9 and repeat the loading operations again with care Film check on H8 cameras Bolex H8 cameras are fitted with a film check which prevents the film on both spools from uncoiling during loading and after the film has been exposed Before inserting the spools in the camera open both arms 45 and 46 completely position c Fig 10 Hold the full spool tightly to prevent the film from uncoiling and set it on 28 its spindle 29 with the notch at the centre of the spool facing the red mark on the spindle When the spool is in place slightly raise pin 47 and regulate the position of arm 45 according to the spool capacity For 25 ft spools use position a 50 ft 3
27. olex Pan Head Cine Tripod Code PODOM and helps the operator to keep the camera perfectly steady while filming Handcranking in reverse The Bolex H camera can be run in reverse motion by means of a small auxiliary hand crank for the purpose of winding back the film in reverse Thus the movie maker can easily withdraw a partially exposed film from the camera or produce a variety of original effects such as lap dissolves superimpositions and so on 1 Push the clutch lever 12 to 0 thus disengaging the spring motor If any resistance is felt in doing so do not exert force but press on filming button 21 while continuing to push down lever 12 2 Set the side control 22 to M 3 Screw the dust cap on the taking lens to avoid exposing the film in reverse 4 Fix the hand crank on spindle 14 of the frame counter unit taking care that the pin engages in the notch in the handle The speed contral should preferably be set to 8 frames per second 5 Rewind the film by turning the crank in the direction shown by the engraved arrow Then set the side control 22 to STOP and put the clutch lever back on MOT Do not attempt to rewind the film faster than the governor will permit Electric motor drive The Paillard Bolex Electric Motor Type U 62 can also be used to run the Bolex H camera when the spring motor is disengaged The Type U 62 Motor supplied on request orderin
28. ount of subject matter which is to be included in the scene and correct parallax depending on the shooting distance 3 Set the lens with a focal length corresponding to that indicated by the viewfinder in the shooting position opposite the taking aperture 4 Set the diaphragm and focusing controls on the lens 5 Adjust the filming speed as required 6 Make sure that the camera is being held quite steady then start shooting 7 Keep a check on the length of the take Some general principles Do not forget that movie making is the art of expressing motion Therefore shoot moving subjects rather than still life views Always hold your camera absolutely steady If you must follow your subject about do so smoothly and with the minimum amount of motion e Pan shots should only be resorted to occasionally as when viewed on the screen they are tiring to the eyes e In selecting a shooting angle do not forget to take into account the direction in which the subject will move Avoid shots in which the subject moves straight across the field of view instead try to shoot from an oblique angle 26 e Do not hesitate to alter the shooting distance and angie e g from above or below frequently Such changes will make the scenes shot more vivid still e In framing your scenes always take care that the main subject is kept in the centre of the viewfinder e Never shoot two different actions simultaneou
29. ounted permanently on the turret and can be folded down completely to save space The lens turret is provided with 3 click stops which ensure that its position when fine focusing is to be done using the groundglass device is always accurate no matter which lens is in front of the prism aper ture see page 17 13 Octameter Viewfinder for Trifocal Viewfinder see page 16 The viewfinder is used for framing the scene to be filmed The Octa meter Viewfinder provides an accurate view of this scene exactly as it will appear subsequently on the screen irrespective of whether a short or a long focus lens is being used for filming This is because the Octameter Viewfinder is designed so that its field of view can be regulated without any gaps by continuous variation to match the fields of lenses of all focal lengths from 16 mm to 150 mm in the case of the H16 camera of from 6 5 mm to 75 mm in the case of the H8 camera In addition special field adapters supplied separately can be slipped into the front of the Octameter Viewfinder to obtain the field corresponding to lenses of focal length 10 mm code CADIS for H16 cameras and 5 5 mm code CAGLI for H8 cameras Each viewfinder is carefully adjusted at the Works to suit the camera for which it is intended For movie makers who wear glasses special corrective lenses of various dioptric powers can be supplied for the Octameter Viewfinder on request If you wish to have such a
30. r 8 mm film refer only to one row of frames on double run 8 mm film Setting frame counter back to zero First set the units dial upper dial back to zero by turning the knob on the handcranking spindle 14 Then set the totalizer dial lower dial back to zero by turning the milled knob just below the two frame counting dials Filming speeds Control knob 19 regulates the filming speed from 8 to 64 frames per second The filming speed can be altered even when the camera is running Never run the camera at a higher speed than 32 frames per second unless there is a film in it or the mechanism may be damaged The normal filming and projection speed is 16 frames per second in the case of films intended for silent projection and 24 frames per second in the case of films to which a sound track is to be added later on Films shot at a speed lower than the subsequent projection rate produce an impression of accelerated motion on the screen while films shot at a faster speed give rise to a slow motion effect Dependence of diaphragm setting on filming speed It must be borne in mind that altering the filming speed alters the time during which each frame is exposed At 16 frames per second the normal filming speed for silent films the exposure time is 1 40th second 7 BR _ ed ie os an aoe When filming at 8 frames per second this exposure time is doubled becoming 1 20th second whereas when the came
31. ra is run at 64 frames per second for instance it is reduced to a quarter i e to 1 160th second This fact must be taken into account when setting the lens diaphragm see page 25 E g filming speed 16 f p s diaphragm setting f 5 6 8 set diaphragm to f 8 32 f 4 p 64 2 8 When in doubt consult the Bolex Exposure Table Use of Operating Controls The filming button 21 in front of the camera is used for intermittent running usual method The operating control 22 at the side of the camera is used for continuous running and for making single exposures frame by frame Intermittent running Press on filming button 21 the camera stops running as soon as pressure ceases Continuous running Push control 22 fully towards M 24 To stop the motor push control back on STOP Frame by frame operation Push control 22 fully towards P 23 This has the effect of exposing one frame only For snapshot exposures first check that lever 17 is in position 1 16 To make time exposures set lever 17 to T 18 Use of cable release A cable release supplied on request can be used to run the camera either intermittently or frame by frame It is available in three different lengths 18 Code DECLA 20 for use with tripod DETRE 40 DELON This accessory is used more especially with the Surefire Grip Code STAIC and B
32. sed if your eyesight should undergo a change Place the selected lens in front of the prism and bring the subject ais sharp focus by adjusting the focusing ring taking care that the lens diaphragm is fully opened so that the bri i l K ightest pos i is obtained ane Place the focused lens in front of the taking aperture and set the diaphragm according to the prevailing light and selected filmin speed frames per second A remove the metal cover A which is held by two T7 small screws on adjust centering of image in the vertical sense 7 by slightly turning the small screw B and in 2 the horizontal sense by turning the two screws C in the directions shown by the arrows in the co co accompanying sketch Filter Slot Bolex H16 cameras are provid ed with a built in slot to take gelatine filters The filters are slipped into position behind the lens through a slot in the side of the turret supporting plate Thanks to this arrange ment only a single set of filters is necessary no matter what lenses are in use A filter slide is furnished for each gelatine filter When shots are being made without a filter the empty filter slide supplied with the camera must be left in the slot to prevent light entering the camera and fogging the film The set of filters especially designed for the Bolex H16 camera comprises 5 filter slides in a plexiglas case 5 small bags each containing one 2 2
33. sly and whenever possible avoid shooting scenes from too far away Winding One complete winding of the motor is sufficient for about 17 ft of film H16 or 10 ft of film H8 However it is advisable to wind up the motor after every take no matter how short The operator will thus avoid the disagreeable surprise of finding that the motor has stopped in the middle of a shot Setting the diaphragm The amount of light which reaches the film after passing through the lens is limited by the aperture of the diaphragm The smallest number on the scale corresponds to the widest setting of the diaphragm The graduations on the diaphragm scale are known as stops When the diaphragm is closed by one stop e g by altering the setting from f 5 6 to f 8 the amount of light reaching the film is halved Conversely opening the diaphragm by one stop e g from f 8 to f 5 6 doubles the amount of light admitted Opening the diaphragm by two stops quadruples it and so on In determining the correct stop to use three main factors must be taken into account the intensity of the lighting the sensitivity of the film the filming speed Exposure table Correct exposure of the film has a determining influence on picture quality As a guide for the novice the Bolex exposure table supplied with the camera indicates the diaphragm stops which should be used under the lighting conditions most usually encountered 27 r E iee
34. th To expose the other half Open the camera Take both spools out of the camera turn them other side up and reload l The full spool will then be on the upper spool spindje 29 with the side marked II uppermost When the film is fully exposed the original Bolex spool supplied with the camera on spiridle 29 will be empty again 11 E in E 3 na ele Sas SET Unloading a partly exposed film If the operator wishes to remove a partly exposed film from the camera and store it for subsequent re use of the footage still unexposed he should proceed as follows a Unloading 1 Make a note of the footage counter reading then set the frame counter to zero see page 6 2 Screw the dust cap on the lens 3 Disengage the spring motor by means of lever 12 and rewind the film in reverse motion see page 9 until the figure 0 on the foot age counter is exactly under the red dot 4 Make an ink mark on the film through the taking aperture can be reached by turning the Jens turret see page 11 and jot down the readings of both frame counter dials 5 Finish winding back the film and unload the camera b Reloading 6 Load the film into the camera as explained on page 4 7 Press on the filming button at the same time watching the footage counter carefully Let go of the button as soon as the figure 0 appears slightly to the right of the red dot 8 Watch the taking aperture exposed b
35. the camera up on a tripod and using a cable release take a series of single frames at a regular and fairly rapid rate say about 2 or 3 frames per second On projecting the subject will appear to move much faster than usual Some highly comic effects can be obtained in this way Subjects whose movements are too slow to be perceived by the naked eye Extremely slow motion such as the growth of a plant can also be registered in this way 31 way l The camera must be fixed on an absolutely rigid support The shutter should be operated at regular intervals using a cable release The frequency with which shots are taken will depend on the type of subject involved and the effect required The lighting should remain constant for each shot It follows from this that the use of flood type lighting will be found well nigh indispensable Still subjects In order to make pictures in which still subjects appear to be in motion it is sufficient to move the latter about or to alter their shape or position from one exposure to the next This should be done in such a way that the resulting apparent motion follows a definite easily grasped pattern and does not give rise to a disjointed or incoherent effect on the screen The camera should preferably be set up on a tripod or other steady mount The cable release should be used and succeeding shots should be made under identical lighting conditions This technique
36. urning knob 26 which is provided with a graduated scale until the number corresponding to the shooting distance is facing the index mark 27 When filming extreme close ups this distance must be measured from the film plane engraved line at front of camera right hand side see 1 Fig 2 Set the scale on knob 26 to infinity again when filming is over 15 Je sn Sore Trifocal Viewfinder may be supplied with certain H camera models Fig 6 Placing in position To place the viewfinder in position turn ring D to make the red marks E coincide and insert the feet of the viewfinder into the clamps on the camera lid Push the viewfinder fully home and fasten it in position by turning ring D in the direction shown by the arrow in Fig 6 To remove the viewfinder simply reverse the above operations Correction of parallax effect The viewfinder is mounted on the camera lid in a position that entirely eliminates parallax effect Horizontal parallax is corrected by displacing the viewfinder eyepiece F by means of the small milled screw G The scale engraved above eyepiece F shows the position to which the eye piece should be set according to the filming distance measured between the subject and the film plane engraved line on camera identified as 1 in Fig 2 Always return the eyepiece to the infinity position after using the camera Use with lenses of different focal lengths When levers H
37. y turning lens turret and cause the film to advance frame by frame lever 17 on T see page 9 until the ink mark made on the film when unloading appears in the taking aperture 9 Set the frame counter dials to the figures noted when the film was unloaded see 4 above 10 Screw the dust cap on the Jens now back in place over the taking aperture and press the filming button until the figure jotted down when unloading appears on the footage counter and the frame counter again reads zero The remainder of the film may now be exposed 12 Lens Turret with Interchangeable Lenses Bolex H cameras are made to take interchangeable lenses the mounts of which are provided with an international standard thread and have the following characteristics H16 camera 1 25 4 mm thread distance from lens mount to film plane 17 52 mm H8 camera 5 8 15 8 mm thread distance from lens mount to film plane 12 29 mm Thus the camera s optical equipment can always be completed by adding new lenses of different focal lengths Important If you purchase any additional lenses later on do not omit to have them regulated to suit your camera by a Bolex distributor The turrets of Bolex H cameras have room for 3 lenses which must be screwed into their mounts securely but without forcing them To bring a lens into the correct position for shooting rotate the turret round on its axis by means of the turret handle The latter is m
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