Contents _ Get to know your camera Camera loading 7 16mm fins 27 Inserting the fim 8 Thoseflex viewfinder 28. The footage counter 8 The auxiliary mutitocal viewsinder 29. The rame counter 11. Optical equipment 30. The audible signa 41 The twret Te The lenses Unloading the camera 42 Distance seting 13 Dap 31. When the fim sflly exposed Sree 32 When the fi is only panty exposed Practical advice is amie ee eis Eaieacteicn 3 ug 16 Wea eae ee 17 The release selector 18 “Hlcttic motor deve eee 19° Hand eranking 39 Macro: and mierocinematography ET Tho viable shor 40 Faulty films and their causes 21 ‘Lap dissolves 42 How to look after your camera 23 Double exposues 44 To.complete your equipmentGet to know your camera Reflex viewfinder (page 8) Footage counter (page 29) Lever for disengaging spring motor (page 16) Spring motor winding handle—spring run: 28 sec. at 24 fps. (page 16) Retlex viewtinder closing lover (page 9) Frame counter (page 29) Coupling spindle for electic motor MCE 17 B and fin rewind handle (pages 18 and 19) Variable shutter dial and contol lever (page 20) Film plane guide mark Coupling spindle for electric motor MST (page 18) Exposure control knob for instentaneous (I) or time exposures (T) (single frame filming) (page 17) Frm speed selection knob (page 16) Front release for normal running (page 17) Side release for normal running, continued fils Ing (Mand single frame exposures (P). Can be ‘operated by cable (page 17) ‘Threaded holes for various accessories and motors16 7 19 20 29 201918 Lever for suppressing audible signal (page 30) Upper spool shatt fr feed spool Upper loop former Upper sprocket Pressure pad locking pin (page 27) Loop former locking. lever and opening knob (pave 28) Pressure pad (page 27) Lower sprocket Lower loop former Lower spool shatt for take-up spool Film kilo Spoo! ejector (page 31) Retaining Feet setting on footage counter (page 29)31 22 2 35 26 7 8 29 Turrot lover (page 11) Threaded hole for tet locking screw Front release for normal running (page 17) Filter holder (page 14) “Turret locking clamp (page 11) Shoe for attaching exposure meter (page 13) Auxiliary multifocal viewfinder (page 9) Lid pening ing Thwee threaded holes (22/s" dia and 1—"/s" ia) for tipad or hand arin Serial number ofthe camera (page 1)16 mmfiims ‘The H16 Reflex camera takes 100 oF 50 ft. spooks of single or double perforated 16 mm film. Films with a single row’ of perforations are used when a magnetic. tack is 1 be added to the origina fi, At each extremity ofthe file there i a leadler—approx. imately 6 1. at the beginning and 3 ft the end—to prevent the sensitive film being exposed to light du ing loading or unloading. These leaders are ysually Femoved by the processing laboratories, Film running times at the following fitming speeds Black-and-white and colour filme come in various sensitivities, which are expressed in ASA of DIN. degrees and indicated on the instuctions leaflet accompanying esch film. The date belore which the film should be exposed is normally stamped on the film pack. 16 mm fin is available in the unprocessed condition with @ magnetic stipe for sound recording ‘We would advise you against using this film: the mag- etic layer can cause premature weer on the parts ‘hich come into contact with it, paricuarly the pres sure pad, and metal particles may find theiv way into the camera mechanism, tae a pe oat eae es Stogn [ime See [ex [fe |S |SThe reflex viewfinder ‘The optical system of the H16 Reflex camera allows for through-the-lens viewing during filming as well az when the camera i= not running, The picture formed fon the ground glass Of the teflex prism ie absolutely {tee fm flicker The srellox viewtin enables framing and accurate focusing of the subject to be achieved. in addition. i fenables you to estimate the depth-of-field, to. deter ‘mine the comect focal length, to eheck on the filter being used and 10 evaluate the illumination of the The ‘eflex prism deflects, into the viewlinder, an average of 20-25% of the light passing throug the lens. This factor has been taken into account in ths table of exposure times on page 13. Adjusting the viewfinder eyepiece to the opera- tor’s eyesight. This adjustment adapt the viewfinder to the operators eyesight, whether or not he wears spectacles, and remains the same for all lenses used fon the camera. Its advisable to check this adjustment from tia to time 1. Turn the tute to expose the reflex prism, 2. View a wal-ighted subje 3. Loosen the milled ring (b) and turn lover (e) until the grain of the ground floss ie perfectly [ITM sharp. Then tighten < the ting (b) wh ‘acts a8 lock-n If your eyesight is nor ‘mal, tho line engraved fon the lever (@) will be ‘opposite the longest line on the fixed ring. bClosing the viewfinder. If the reflex viewfinder és not used! dung filming, lose it by moving the small lever (a) inio a vertical postion. Iti i let open ‘thote fs a isk of sunlight or aniticial ight from behind the camora entering te viewindor eyepiece and fogging the fm Focusing. Open the diaphragm wide. then tum the distance seting ving url the picture isin sharp focus on the ground glass. Then clove the diaphragm to The auxiliary multifocal viewfinder ‘The H 16 Reflex camera is equipped with a detachable mutifocal viewlinder, Provided with paraliax conection from 20" to infinity. Its field ean be matory and continuously adapted for lenses with focal lengths of 16, 25, 38, 50, 62 75, 100 ot 150 mm. The viewfinder also incorporates next lens, mounted On 2 sliding bracket. Quickly put into place. this lens immedkatly adapts the view” finder 10 the field of a wide-angle fens (10 en). When this Tens tsi use, the ‘multifocal viewinder should be st forthe shortest focal length (16 nu). ‘The auxiliary viewtinder can be mounted or removed from the by means of lever It extremely uselul for previewing the fore picture composition and focal mined without having 10 ‘move the camera10 Adjustment of the viewfinder field. The viewlinder field is adjusted by rotating the disc (3). The focal lengths are visible in the upper window and ‘also appear in luminous figures in the viewfinder tell, thus permitting perma. nc te cal Goer ae Ten en la ee ee horizontal and vertical centering of the subject Parallax correction. The viewlinder is so. positioned on the camera as to fliminate any verical parallax. To correct lateral parallax, turn the scaled knob (8) Lunt the number cotresnonding to the filming distance faces the guide mark This distance is calculated from the film plane. Set the sign == opposite the guide mark at the end of filming. To accurately frame subjects at less than 1 Jf the reflex viewfinder should be used: Adjusting the viewfinder to the operator's sight. Corective lenser of diferent dioptic power are available, on request, 1 adapt the viewtinder to the ‘eyesight of spectacle wearers. The Palllad-Bolex disiibutor for your county ‘wil it a corrective lene to the viewfinder Ht you let him know the lens power requiredOptical equipment ‘The turret. Simply by turning the turer. you can change rapaly from one focal length to another, rom a medium tong view to a long view or a close-up. To tum the ture, use its fold-away lever. In this way, thee i no tsk of accidentally moving the diaphvegm and focusing rings. Three click stops ensure that the Tenses are conectly positioned infront of the filming aperture. When using heavy lenses, such as zooms or telephotos with very tong focal lengths, the tet should be locked (Pos. 2) with a special clamp, Correct position of the lenses on the turret. Keep the ny lenses positioned as shown opposite, so that there fe 2 J vasonable distance between the wide angle lens (1) and the Vy Yong focal length lens (3). itis as well to remove 100 and i 180'mm Tenses from the tweet before using = shorter focel sngth Tens, i order to keep ite field clear. When using a heavy lns, such as a 200m, the turet should be locked with a plug, ‘Thelenses. The H 16 Reflex camera takes °C” mount lonses (see important note I below) which have the following characteristics: Thread diameter: 25:4 mm (1), Maximum thread length: 4.06 mm (160°) Film plane / ens seat distance: 17.52 mm (,690°) Lonsbs should be held by their tear rings (a) when being screwed int the tet Standard lonses (25 and 26 mm) are suitabie fr most shots. Wide-angle tenses (10 and 16 mm) are usod for general vows oF when itis Gifficut to. move back from the subject (bullings. interiors, etc} They give heightened perspective12 Telephoto tenses (50160 mm) are used for long distance shots and ofe ideal for filming sports scenes, children, animals, ete To protec: tenses from dust and impurities, it is advisable Important. Special 10, 16, 25 and 60 mm tenses have beon designed exelusively for use on the 1116 Reflex camora. Lenses with focal lengths to replace the lens eaps between takes, ‘over 50mm can generally be used equally well on the H16 Reflex as on cameras without reflex viewtindor. Focusing The reflex viewfinder of the H 16 Reflex camera shows you the picture as it will appear on the film. with its sharp and blurted areas faithfully reproduced {Wis thus simple to focus accurately and, atthe same tie, to estimate the depth of-feld ‘The depth-of-fiold is the eres within which the pictue is in focus it vaies according to the foeal length of the lene, the diaphragm opening and the fining listance. The longer the focal length, the wider the diaphragm opening or the shorter the filming distance, the shallower the depth-of field will be, Focusing ‘must thorefore be especialy accurate, Conversely. the shorter the focal length, the smaller the diaphragm opening oF the longer the filming distance, the wider the depth-of-field. will be~and the ‘greater the margin for focusing inaccuracy On most lenses, « depth-of-teld scale indicates the distances within which the picture wil be in focus. Lenses are also supplied with « depth-of field char Distances ae calculated from the film plane, markedDiaphragm setting The tens diaphragm controls the amount of fight feaching the fim and ts adjusted according 10. the lighting conditions. the film sensitivity, the filing speed and the postion of the variable’ shutter. Th ‘amount of light admitted by the diaphragm is doubles at each successive setting, starting ftom the highest figure. For instance, moving the diaphragm setting from 1/11 to 1/8 doubles the amount of ight passing ‘through the lens The Bolex exposure meter was designed and cali brated ‘especially for the H 16 Rellex camera and allows for the fact that 20-25 9 of the foht i deflected into the viewfinder by the rellex prism. The exposure ‘meter fits on to a spectal shoe (see page 6) ‘The use of the exposure meter safequinds against exposure eros. In the chart opposite the figures fisted in the column under “adapted exposure tines” take into account the ght deflected by the reflex prism Exposure times (in tions of a second) ‘Stor “onon | Sa Geet | Sar ean] eee” [tea || "Yes | ema | Rs 60 1/75 | 1/100 4/195 evar [in tas [s 1166 eee Tis fists [90 120-1780 | #200 4/225 Jestos [9/130 17160] wii80 47208 | 1/300 dare Josses. | 1760 1/220) $720 1/300 | 1700 100 [Secct | Sale ae Ee jth iapatin)‘The H 16 Rotlex camera has a fiter-slot between the taking lens and the reflex prism. The filters therefore remain in place whichever lene te being used. When filming without a filter, an empty filter holder should be left in the slot ‘to prevent light infittration which would fog the film. See that the filter mount ic firmly located in the slot. “The sot of filtors for tho 116 Reflex camera comprises four filter holders. a filter Ccuting frame and four envelopes, each containing ane of the following 2° square gelatine filters, The effect of a fter varie according to the type of film, its sensitivity and the jghting conditions. The diaphragm cortections below should be considered a: only approximate The 1A Skylight filter for colour fis, tones down excessive blue and improves colour reproduction (in the ‘shade oF overcast weather, for distant shots, when filming in snow or at high altitudes). This filter requies no diaphragm conection: =f Kage | The 85 Daylight fitter for colour ims 2 conversion he oven dae fie. ti used for ming in daylight with Kodachrome I Jeermaom ASA wy | Type A anil light fim. When setting the Gaphvagm, Kodsk Wraton 85 Dayton Kodak Wratten 8 Yeo tien ND 06 Neu de remember that colour film for artifical ght, used with | — |= thee Bayan ter kes ne sar setters raacoielesam!| acon Cate Hate fee ' <-| Sine vemonre ent wa Ome anaes | black-and-white fms,‘The neutral density filtor can be used with both black-and-white and colour films and in no way affects colour reproduction, As the ASA sensitivity f reduced four times, the diaphragm can be opened two stops. This itr is used 1 When the lighting ‘conditions and the ‘film sensitivity require an aperture ower than the smalies stop on the lens. 2. When it is desited to reduce the depth-offild in order to schiewe special fects (sharp foreground against blurted background). Mounting gelatine filters. Filters are mounted a follows Hold the filter cutting rame horizontally (a). ne fer with its protective covers, as far as it will go into the 1 2 3. Hold the frame firmly and cut around it with sharp scissors. 4. Remove the filer by its edges. Fingerprints cannot be removed, 5. Remove the fastening clamp (8) rom the filer mount. ©. Open the sping blades (b) and (c) 7. Insert the cut-out-fiter (d) between the blades. Press the spring blades (b) and (c) together between thumb and index finger. 2. Replace the fastening clamp (a) When you have finished, put the fiter-mounts in thet case to protect them from dust Focusing adjustment. Placing a filter behind the lens slightly altos the lens focusing. However, the necessary covtection ie automaticaly made when the reflex viewfinder fs used, Important. Because ofits distance from the film plane, the fiter mount cannot bbe used as a mask holder for tick effects, such as keyhole and binocular cut-outs The shape ef tho mask will not appear on the film and it will only darken the16 . Winding the motor Move the side rolease to STOP and the motor dis engaging lever to MOT. Lift the motor winding handle, which automaticaly engages with the spindle. and tum anti-clockwise, Wind the spring motor fully but without forcing it then lower the handle and secure iton catch (a). Otherwise, there is o isk of ft turning ‘with the motor during filming Fully wound, the motor drives nesrly 181. of film, ie 28 seconds’ filming time at the spood of 20 tps Make 2 habit of rewinding the motor after each take regardless of how much power it sil in reserve Film speeds The camera has seven filming speeds: 12, 16, 18. 24 32, 48 and 64 frames per second. To select the dosved Speed, ten the contrat knob (b) Lunt! the corresponding figuee i opposite the red dot When the film is projected at normal speed (18 or 20,.p.s.), 3 lower filming speed will pradkice an accel ‘erated motion effect while a higher filming speed! wil ‘ive a slow motion effect. When changing fim speed, do not forget to alter the diaphvagin seting. When ‘changing from 24 10 32 fps, the dlaphragm should be opened half @ stop, from 24 to 48 fies, by 2 whale Slop and from 24 10 64 Li.2 by 1% stone (see page 13}Important. When the camera is not loaded, it should not be run at speeds over 32 fps. as this could damage the mechanism. The release selector The #116 Reflex camera can be used for normal, continuous oF singleframe filming. These diferent operations are contolled by the side release. Normal filming. This fling method is suitable for most general shots. The camera runs as Tong as the operator depresses the front release or pushes the side release towards M (generally by using 9 cable), Gable release. For maximum stability, when the camera is mounted ona vipod itis advisable to use a cable reloaso which fixes. by means ofan adapter, on tthe side release knob. ‘Single frame filming. Push the side releaee to P. Instantaneous: turn the knob until the guide mark is in position L Time exposures: guide mark in position T (for use in poor lighting conditions, such as indoors) When making time exposures, open the variable shutter full or one of its blades may mask part of the picture You can also use an electic motor which ensures absolutely constant exposure time for every frame at the selected speed. This prevents the slight ficker eich, inevitably results from using a spring motor (see pege 47). Single frame filming is used for titles, cartoons, seentile films and vatiows effects, particularly accelerstod motion (clouds, sunsets, comic effects e Use a cable release to prevent any risk of camera movement.Continuous filming. Push the side release to M The camerawill continue running a8 long as the motor is wound. To stop the camera, move the side relaasa back to STOP. Continuous filming with an electric motor. Long sequences can be filmed without interuption by using one of the following electric motors, which are easily fitted on to the camera, ‘The MICE 17 6 motor drives the film at the chosen speed, from 12 to 32 fps. by the coupling spindle (8 frames per revolution), battery driven: ‘The MST motor is a constant-speed motor which drives the film, ata specie tate, by the coupling spindle (1 frame per revalution), For filming with syncheo. sized sound as well as for industrial and scientific work. Various models ae available 22 follows — 24 fps: films for commercial use and Ametican TY stations Pilot generator, 80 or 60 ~ incorporated; automatic or remote-conttolled ‘lapstick 28 4p: films for European TV stations, Pilot generator, 60 or 100 ~ incorpo: ‘ated; automatic or omote-controlledclapstiek. = 16%) fp: for motion studies (1000 frames per minute) = Motors operating at any other speed within 12 and 25 fp-s. can be supplied to order. The MST motor is powered by 3 portable cadmium-nickel battery with an in orporated recitier which can be recharged from the mains, or powered from 8 42 accumulator, such os a car batteryHand cranking. The mechanism of the H16 Reflex camera can operate. in reverses well as. forward ‘motion by means of a smal axiliary erank, The spool ‘an thus be fully tewound and a partly exposed tim femoved from the camera. This te particularly useful for special effects, such as lap dissolves, double expo sures and Wick effects To rewind the tim 1. Disengage the motor by moving lever (1) t0 0. you feel a shght resistance towards the end, <0. not force the lover but pross the front release while continuing to move the lever 2. Move the side release (2) 10 M (continuous filming) 2. Close the variable shutter by lowering lever (3) 50 a8 not to fog the film (ase page 20) 4. Tum the hand crank (4) in the direction of the engraved arrow but do not ty to rewind the fen {aster than allowed by the speed governor. To resume nomsl motor-driven operation. move the side release to STOP and the disengaging ever to or o not forget to ypen the Variable shurter Hmportant. The reverse system is. designed for rewinding only and should nt be used for fing, 19The variable shutter The H16 Reflex camera is equipped with a shutter ‘whose aperture can be vatied both when the camera is running and when itis stopped. This enables you to feduce exposure time without changing the filming Speed. In dazzling light, such as snow and water Scenes, the variable shutter can be used to reduce exposure, hetitral do ‘The shutter can be locked in each of its four postions by pushing the lever inwards. The % and % closed positions are marked on the face of the lever by the figures % and 1, which signify closed postion (marked %): the diaphragm shouts tbo opened half @ stop to compensate for the reduced expose time, due tothe shutter boing % closed % closed position (marked 1): the diaphragm should be ‘opened one stop. ‘A tiangular waming signal appears in the fellex viewfinder when the voriable shut Fs notin the fully open postionUse of the variable shutter. Tho variable shutter enables you to achieve various effects, without the heed for any other accessories. Some ate described below Dissolves Fade-in. A film beginning abeupsly with a tile or brilanty it ecene may dazzle the eves of an audience ina darkened room. The eye needs only between Y. second and 2 seconds to become adapted to the brightest seen image. i the transition & gradual In such cases, itis 4 good idea to introduce the opening Scene with @ fade-in, Using the variable shutter, 35 follows: 1. Close the variable shutter without locking the contra lever 2. Start the camera with the left hand while simula peousty opening the shutter with the Fight, using the fever, To ensure a simooth movornent, press. the middle finger against the edge of the turret and, holding the small black lever knob tly between thurnby and index finger, move the lever gently for. ‘ward (see picture opposite). Betore beginning to fil, practice making thi move ‘ment smoothly and, particularly, making it lst the Sesitd time. Duration can be checked by repeating low a previously timed phrase. Alternatively, You tan use the audible signal (see page 30) Continue filing until the end of the fist sequence For safety’ sake, lock the lever in the “open” posi tion bofore filming further sequencesFade-out. A gradual darkening at the end of the last scone avoids an abrupt finish. The fade-out can be slower than the fade-in and is achieved in the samme ‘way, only in teverse order. ‘Transitional fade. If you cannot avoid linking two scenes with an appreciable diferenco in light, the tansition will be smooth if you end the fist scene with ' fade-out and begin the second with a fade-in. To avoid a break in continuity, these two fades should not last longer than two or three seconds, Lap dissolve. A lap dissolve is unquestionably one of the most plessing ways ‘of finking two sequences. It is made by superimposing 2 fade-in on a fade-out 0 that one picture gradually disappears 35 the next gradually appears. This ‘makes for a very smooth transition during which the picture brightness scarcely To produce a lap dissolve 1. Close the sequence with @ fade-out, without intenupting filming and without regard to the frame counter. 2. Lock the shutter in the “closed” position. 3. Set the two dials of the frame countor to 20. 4, Disengage the motor and rewind the fim in raverse until the frame counter indicates the figures comesponding to the duration of the fade-out. An ‘example is shown on the table opposite (page 23) Move the side release 10 STOP and the lever to MOT. Frame the second sequence and release the shuttor lever. Press the release and simultaneously make a fade-in of the same length as the previous fade-out. Continue filming.IN. B. Producing these fades is greatly facilitated by using the variable shutter automatic control, ‘the REX-FADER (sve page 45). Double exposures In order to enhance the artistic effect of a sequence the professional cameraman sometimes uses double exposures, Le. the superimposing of two different ‘scenes filmed on the seme length of fim, 4) To double expose the whole sequence: ‘Set the lons diaphragm according tothe lightmeter reading, 2. Half close the variable shutter by locking the lever in position “1” 3. Set the frame counter to zero, 4. Film the tst soon, 10, n Fling spend tips | 2tps. 364 952 oe 28 Note the reading of the frame counter. Fully close the variable shutter and lock the ever in that postion. Disengage the motor and wind the fl back unit the frame counter again wads 2010. Engage the moter. Free the variable shurter lever and lock tin position bi: Film the second sequence until the frame counter reaches the figure noted under point 5. ‘Open the variable shutter and lock its lever in that position 2310, n. 12. To double expose only part of the sequence: Sot the lens diaphragm according to the lighimeter reading, Film the beginning of the scene, stopping when you reach the point where ‘you intend ta introduce the double exposure. Set the frame counter to zero and free the variable shutter lever. Continue filming. Start with a semi fade-out of about 1 % seconds, by lower: ing the lever 1 position “1”, Lock the lever in that position without stopping filming, Stop filming where you want the double exposure to end and note the frame counter reading Free the variable shutter lever. Continue the sequence with a semi fade-in of about 1% seconds and end i with the lever locked in the “open” position. Note the frame counter read ing. Fully close the variable shutter and lock the ever in that postion. Disengage the motor and wind the film back until the frame counter reads Engage the motor and free the variable shutter lever Frm the superimposed scone, beginning with 2 semi fade-in of about ‘1% seconds, by moving the lever to postion “1” and tocking it without stopping filming ‘Stop filming when the frame counter reaches the number noted under point 7. 24M... Use a tripod for such sequences and, if possible, have an assistant.Choosing a more favourable diaphragm openi AS a tule, very small digphagm apertues should be ‘voided, as there t a tsk of dllaction affecting pic ture quality. Moreover, with some fl sensitivities and lighting conditions, even the smallest phragm open- ing. cannot prevent over-exposure. AS. the. variable shutter petits reduced exposure time without chang ing the filming speed, both these risks are greatly minimized and a neutral donsity filter i unnecossary. Increased pleture definition. Closing the variable shutter reduces exposure time and thereby increases the sharpness of moving subjects. However, i the filming speed i not increased. this procedure can ‘osu to jerkiness on the screen In special cases, whore picture sharpness is more important than steadiness’ (such as_ame-by-trame ‘analysis of scientific phenomena, sports contests and motion studies), it i an advaniane to. be able 10 reduce exposure time, without changing fining speed. {6 thie diminishes the Blur caused by # moving subject Increased picture sharpness is expecially useful tor projection on wide screens. To safeguard against the Fisk of jerkiness, due to she shutter being. parilly losed, the filming speed should he increased for Instance, to 24 {ps or over whon ing with the shor half closeLoading the camera ‘Now that you are familiar with the various features of Your camera and know how they ate operated, you are ready to start loading. To avoid exposing the edges of the film to light, the ‘comera should be loaded ina dimly tit place, well away from sunshine. Before loading the comers 1. Set the side releaso (1) to STOP. 2. Set the disengaging lever (2) to MOT. 3, Move the selection knob (3) until the number cores: ponding to the desired fiming speed faces the red ‘ot 4. Wind the camera (page 16)Inserting the film 2s chown in the illustration Prepare t load the film as follows: 1 Check that the pressure pad pn (a) is locked and that the pressure pad cannot open, Remove the empty spool fram its spindle by pressing sjector (b) and place the spo! holding the fim or. the upper spoot shaft (film should run ia the dice tion 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 camora and the light matt cide (sensitized) towards the lens. Using the film knife, cut off the end of the fim diagonally between two perforations, as shown in the llustation. Rememberto remove the piece which has boon cut of Close the loop formers by maving the control lever parallel to the pressure pad5, Pross the release while simultaneously pushing tho fend of the film against the sprocket (ilustation Opposite). The film is automatically throaded into the camera. ©. Continue to depress the ‘uni 10 t0 12° of film have passed through the drive mechanism. 7. Open the leap formers by pressing knob (4). (It you fceidentally leave them closed, they will automat Cally open when the camera lid is replaced.) 8. Insert the end of the film into the slot in the core of the take-up spool. Rotate until about tree turns of film have been taken up and place the spool on the lower spool shaft 8 Tuin the take-up spool by hand, clockwise, to take op any slack film Final check. Press the release and run the camera for soveral seconds to enure that the fim advancing normally and the loops at either end ofthe fm gate are forming comecty Replace the lid and lock it by turning the ring in the lection indicated by the arow F.1ft does nat lock, do ‘hot force the ring! The spools othe pressure pad may be incorrectly positioned. Finally, press the rloase until tho film leader has boon taken up. The camera is now ready for use (soe fol owing pages)The footage counter The footage counter shows the length of film that has been exposed. Once the ‘camera is loaded, this counter reads ft. Run the camera unt the figure 0 arrives ‘opposite the white line in the Centre of the red mack This indicates thot the im leader has been taken up and you can stan filming. The counter sutomatically returns to ft. whon the camera lid is removed for loading or unloading film. The footage counter is sufficiently accurate for ordinay ining. Por special etfects that require absolute precision, the kame counter should be used ‘The frame counter By indicating the exact numberof frames exposed, this counter is invaluable for scientific studies, as well as various effect, such os lop dissolves and double ‘exposures. tis also very Useful for single frame fiming (animation tochnique, see page 37) The unper dial adds the frames in forward run and subsets them in teverse run, from 0-50 frames ‘The lower diat toiaies, in units of 80, the flames in forward un and subtracts ‘in reverse un, up #0 1000 fromes, 29Beyond thie figure, the cycle starts again and the figures shown on both dts should be added fo the 1000 frames alteady totalized. Take ho notice of the relative positions ofthe dials but only oftheir readings You can easily check if the figures shown on the frame counter refer to the first ‘0 second cycle, by looking at the footage counter 1000 frames of 16 mm film Ccomespond 10 26 ft To set the frame counter to zero, use knob (a) which controls the upper dial and knob (b) which controls the lower “totalizer” dial Audible signal A clicking sound marks the passage of each 8" of film and is heard approximately every second st the speed of 24 Ls, every 1% seconds at 18 tps The longth Of a scene can thus easily be estimated while filming. To reduce the strengtt of the audible signal, or to eliminate Wt altogether, move the small lover inside the ‘Gamera, next to the counter pin, towards zero,Is 10 wind the end leader on to the take-up spool. Before ‘opening the camera, make sure there & 10 fim left in the gate, 26 follows: "Move the exposure knob quide matk to position T and. turn the ture to reveal the aperture, Then push the side felease to P to open the shutter. If any fin remains, will be seen, as an ivory coloured rectangle. in the aperture. Only one frame will be lost by making this check. Do not open the camera in bright light or the sunstive film may be fogged Spool ejector. This dovice simplifies spool chenging, A light pressure on the ejector lever frees both spools, which ean then easy be removed from the camera Holding it firmly so that the film csnnot unwind. place the fll spool in is racial containeeWhen the film only partly exposed A partly exposed film can be removed from the camera 28 follows: 1, Note the figure on the footage 2. Clase the variable shutter. 3, Disengage the motor and rewind tho film until the sign Ft. appears ‘opposite the white line in the mask 4, Open the camera lid and unload the camera in 2 dim light To replace a partly exposed film in the camoraz 6. Load the camera as described on page 26. 7. Close the variable shutt 8 Press the release until the footage counter reaches the figure aleeady noted 8. Before beginning 10 film, itis advi sable to press the lease and run the camera for 0 second or two, to vid the risk of double exposure IN. B. For greater accuracy, use the frame! counter which enables you to recommonce fiming Wom exactly the frame whore you let off"Practical advice Bo not stat filming before having thoroughly read this ‘booklet and studying the operation and various settings ‘of your camera. Hore aro several rules we suggest you follow when shooting your fist filme Camera stability ‘The camera should be held absolutely steady for the slightest jerk is amplified on the sereen and unsteady pictures Rest the camera against the forehead or cheek, stand. with the legs wide apart-and, where possible, ean ‘against a fim suppor, such ae wall or tree trunk Move the camara slowly and smoothly tis advisable to ‘use a gip and, if possible, a tripad. wp fs essential when using @ 200m or telephoto lensFilm composition ‘A good film is generally composed of 2 smooth and coherent succession of short scenes, Depending on the subject, scenes should average between five and ten seconds. f the action to be filmed lasts longer, divide it into soveral shots, taken from diferent angles and distances (long shois, medium shots and close-ups) lin this case, use a zigzag approach rather than advancing in a siraight line or the resulting impression veil be thatthe subject Is leaping towards the camera, ‘Never film rapidly moving subjacts from a right angle but from a three-quarter angle or hosd on. Remember that movement makes @ film lively and interesting. ‘Avoid lingering on static objects and vary the shooting angles. A 200m lone, ‘operated by a lever. can give the impression of smoothly approaching or moving away from the subject (an optical taveling effect) or of following @ moving Subject (a follow-on travelling effect), but such effects should be used in modera- 1 the camera stops while you are filming, change your position before continuing with the same scene co that the intonuption will bo fess obvious, Get Inte the habit of rewinding the comers after each scone, however shortPanning shots ‘A panning shot is made by swiveling the camera vert Cally or horizontally to embrace a endscape,a building (oF any other extensive scone. Panning should be kept to 2 minimum—continual sweeps of the horizon make for very dul viewing, Stan panning with a static view of the subject. then ‘move the camera slowly and smoothly, finishing the ‘movement by again holding tho camera steedy on the subject for a second or two. Never pan bock over the same subject. The longer the focallongth used, the slower the movement should be Al 16 or 18 ps. 8 movement ‘of 45" should take at last 15 seconds with o standard 25 oF 26 mm tons and 45 seconds with 2 75 me te photo lene. More simply, allow seven seconds to move {com one side tothe other, o from top to bottom: of the ute seen in the viewfinder, whatever focal length fs ‘sed. These times should be reduced by one thi when filming at 24 tp. {1 90 tipod is avallale, use a grip and rest the elbows fon 2 firm suppor. Lighting Front or side tightng gives excelent results with colour fms. back ighting can be awkward. On the other hand, bbackightod subjects are eas to shoot with black-and: white fim. The best times for filming ate shown in the instructions leaflet accompanying each film. Faily bright, but not overhead ight is required for colour Gime wile mmoming and ‘evening. are the best times for shooting with black-and-white fim, Indoor filming. Jnteriors can be filmed, ever im daylight, wath 4 fact Tens. When the ight is insufficient, arficil ight mube used. We recomihend Bolex-Lites with halogen: Aauartz lamps, which are especially bright, ght-weght ‘and long lasting. When shooting colour sequences, use light type film. For good colour reproduction, ‘not to mix natural and antici! light. Night sequences. With 2 very fast lens, fireworks ‘and lighted neon signs can be filmed with excellent fecults Film at 12 tp. ifthe light is not strong enough (use of tripod recommended) Editing and titling films ‘After shooting several flims, you will probably want to “edit” them, Le. cut out those sequences which aro lacking in imerest or poor in quality, reduce the longth ‘of others and arrange the scenes in 2 logical and anitic ‘order. The interest of your film will be enhanced by adding a main ttle and sub-titles where appropriate. It is also a good idea to show where the action took place. For this, you can make use of maps, road signs, 36. Or design your own titles (soe page 47). Adding sound to films. A commentary of musical aceom- paniment will add to the inter fest and enjoyment of viewing your fms. Ye mm films can take an optical oF magnetic sound track. I you imend adding a magnetic sound track, make sure Wat tho film you will use has only one row Of perforations. For good sound reproduction, shoot the film at 24 tps. For speech on magnetic ‘sound stipe, a filming speed of 18 tps. is satisfactory The Bolex. 5-321 sound pro. jector enable: you to record ound on films equipped with 4 magnetic stipe es well as 10 project films with either opt fal or magnetic sound tack {eee page 48)Animation technique il subjects, such as articulated dolls or Huffy animes can be animated by single frame filming. Alter shooting one frame ofthe subject, move it bya faction of an inch and toke a second shot Move the subject yet again, or slightly change its postion, expose a thi frame, and 20 on, ‘Tho speed and smoothness of a movement depends on the number of frames used to animate it. Before beginning 10 fim, calculate the number of frames required for the avollable projection time. For instance, if you want 9 ‘movement to last 10 seconds on the screen, when projected at 18 tps, you ill need to shoot 120 frames Single frame filming is also used for tiling, for animating @ route on a map, for effects such as the growth of a plant. the spontaneous blooming of flowers and ‘comic effects, such as people moving at an unnaturally rap pace: For al these effects. you should use the Bolex Tiller or the Boles tipod with it Platform that locks into position for maximum stably. A cable releoce ensutes absolutely steady and unchanging framing ofthe subjectCartoons ‘This technique gives full scope to your imagination but requires some artistic ability. Each movement of the. subject is broken down and reproduced in 3 ‘series of drawings, each showing a fractional part of the movement. These ‘drawings are made on shoots of acetate then placed, in order, on the animation table oF the Bolex Super Titlor and filmed frame by frame. Each frame must be sharply drawn. If you are making 2 colour film, hatch the backs of the acetate shoots to make the drawings stand out. The position of the ‘drawings must be carefully matched by means of punched holes to ensure good ‘continuity. The Bolex Super Tiler with is adjustable guide pine ensures accurate placing and maximum camera stability while filming,Macro- and micros Every doy, scientists, businessmen, engineers and countless amateur movie makere—use micro: and macroflming techniques for studice and research. The ‘movie camera has proved invaluable for tecording actions and phenomena which ‘are normally impossible to observe. Macrofiiming i the filming of minute subjects, sil or moving. at very shoe range. ‘This is achieved by increasing the distance between the fm plane snd the lens seat with extension tubes placed between the camera and the lens. Pallas Bolex produce a set of four extension tubes (eee pege 45) which increase the ls seet/lm plane distance from 5 mm to 75 mm, For maximum definition, the lens focusing must be adjusted with extreme accuracy. Allowing for 2, coritnucus increase in the extension of the lenses employed, the bellows attachment com: Bletes tho camere's range of accessories for very close range filming. The lens ‘ives an extension from to 85 mun; itis fited with a diephvagm preselection ‘ing. Smooth and accurate focusing is ensuted by the focusing tack ‘on the tubular guides for the fens mount. Two scales make the bellows attachment very simple to use and obviate the need for tables, Here again, the telex viewing System will ensure perfect framing and distance seting Microcinematographiy consists of filming with the id of a microscope and is principally used to record various chemical and biglogical processes, ‘The illustration opposite shows the unit developped by Wild SA. of Heerbrupo, SwitzerlandVariable shutter lett closed, Film inconectly loaded with dark side fi the lens towards Under-expasure (too small a diaphregm opening for the filming speed, fm sonsitivty and shutter aperture) COver-exposure (100 wide @ diaphragm opening for the filming speed, film sensitivity and shutter aperture). Inaccurate distance setting, Camera unsteadiness oF panning too rapi ly. Using fiters designed for black-and-white film when shooting in colou, Yoo long 2 delay between exposure and development Films pooty stored before or after exposure Filming too eatly in the moming or too late in the evening. Using tungsten tamps with a daylight type film or an ‘under-powered lamp with “artificial ight” fr.Filming distant subjects at igh attudes or on water ‘without the appropriate fiter Water scenes with strong reflections, filmed without polarizing fer ‘An object, such a¢ a finger or 8 long telephata lens, in front of the taking lone Turret badly positioned ‘Dust or particles of emulsion inthe film gate, Camera badly loaded. Direct light entering through the reflex viewfinder, Careless loating or unloading of the camora so that sensitive fm was accidently exposed to light. The ‘ter-mouer left out oft slot Prossure pad inconecity lacked Carefully folowing the iastactons in this booklet. you will help to aveid the above mistakes end produce fexcollen fms aHow to look after your camera 3 E The interior of the camera, housing the film drive mechanism must be kept spotless. Gelatine deposits and dust sometimes accumulate in the gate and on the pressure ppad when unexposed film is run through the camera and should be removed as follows: 2) Open the pressure pad by liting its pin 1b) Unscrew the shaft and remove the pressure pad by pulling it towards you, ©) Gently clean the gate and pressure pad, paying special atention to the aperture, using 2 clean cloth wound round the end ofa smal stick. If the gelatine deposit is hard to remove, damp the cloth and thoroughly dry the part after cleaning, 4) Replace the pressure pad. Reflex prism. The reflex prism infront of the aperture can be reached by tuming the turet As iis mounted on hinges, it ean be swung ut for cleaning the back ‘and the ground glass. Use a soft dry brush or special paper for cleaning these parts. The prism can be cleaned even when the camera is loaded (preferably in the shade). Important! The reflex viewfinder must not be dismantled. Lenses. Keop the outer surfaces of your tenses absolutely clean with the special soft tissue paper sold in photographic shops. Avoid rubbing the lens more than ‘necessary as this could damage the anti-reflection coating. ‘Screw on the fens caps betwen takos. Spacial care should be taken to avoid dust ‘or fingerprints (perspiration attacks glass)Special care of the camera in tropical regions. Various precautions should be taken to protect both camera and film against heat and umhty Aintight boxes are available to store ime i the tropies. Never leave film in the ‘camera longer than the time necessary to expose ‘The camera and all accessories should be cleaned regularly and thoroughiy. Leather and the carrying cases should be trated with special product availabe fom leather merchants, To provent hot, moist air from condensing and aiding the formation of bacterial growths, do not place your equipment in it cases between takes. but leave it froaly exposed to the at. However, for storing your equipment, especially during the monsoon season, use aight tin boxes with a silica ge oF calcium chloride humility absorber. Avoid using these chemicals too liberally, however, to prevent excessive drying. which ‘might damage leather and film, A relative humidity of 35 to 40 % is eaelactory, Care should be taken to prevent any of the chemical coming into contact with Precautions against cold and sand. If you are going to fim at high alitudes Fin ery cold climates, send your camera to the Pallatd-Bolex agent for special ‘teasing and winterizing, Guard ausinst getting sand or dustin your camera, which could scratch or damage its mechanism, Where necessary, put the camera in its cave betwoon each take ‘and, for exta protection, put the ease in plastic bag,To complete your equi ipment er Seie ta oat ee SOM-Berthiot Pan-Cinor 85 (17-85 mm £/2). A lens outstanding for its large aperture, A rellex view finder with coincident image rangefinder alfords easy and extremely accurate focusing Korn-Paillard TTL Vario-Switar 860 E (18-86 mm £/2.5). Thi lone with automatic diaphragm contol designed exclusively for H 16 Reflex cameras. Ono lever starts the camera running and varies the focsl length. Zoom Angonicux 12-120 (12-120 mm #/2.2). With its exceptional range ef focal lengths, this lens could replace 2 complete set of fixed focal length lonses. As well as 2 lever, a small crank handle f= provided fer achieving absolutoly smooth zoom effects, (Not available from the Paillard.Bolex distributor in some counties.) Macro-Yvar 150mm /3-8and Macro-Yvar 100mm 4/28. Those two telephoto lenses are equzlly suitable for filming subjects close at hand ot at 2 considerable distance away. A dual-range extension affords excep. tionally wide focusing range.Extension tubes. Used in. macrocinematography to achieve magnification of minute. subjects, such {insects filmed at vety short range. The reflex viewing system of the H16Reflex camera permits highty accurate framing and distance setting. The tubes are supplied with a calculator table. REX-Fader. Aviomatically and smoothly opens. and closes the variable shutter, thus permitting protessional ‘avait fades ond lap dissolves, Electric motors. Ses page 12. Automatic solftimer. This accessory enables the ‘operator to get into the picture himself by starting the ‘camera running six seconds after the timing mechanism hhas been set and alowing for a predetermined shooting ime of between 5 and 20 seconds Cable releases. Recommended for normal of single frame filming when absolute steadiness fs required “Two lengths available: 21" and 40" Bolex lightmeter. It is always advisable 10 use an exposure. meter, particularly when ming. i colour ‘The Bolex lighimeter is designed for mation fining and especially calibrated for use with the H116 RellBolex matte box. Acts as a highly efficient lens hood ‘and can also be used a= a portable accessory for ting {and tick effects, such as entering 2 room through the Keyhole, making the same character appear several times on the same picture, framing @ landscape in binoculars, ete Bellows attachment for macrofilming. For fining at very close range, focusing is simplified by he gored ‘guide plate which allows for continuous increase in the lens focal length. Two reduction adapter rings make it possibile to fit other lenses. Hand grip. Gives @ good firm grip on the camera, thereby increasing camera stability. Quickly mounted ‘on the camera by is fixing device. Electric H grip. Similarly designed, can be used for releasing the diferent electic motors Bolex tripod. A tripod onsures picture steadiness and is essential when using lenses with focal lengths over ‘50 mm. The Bolex wiped. especially designed for your‘camera is strong. very easily adjusted and quickly fied un, The Bolo swivel joint complements the tripod by enabling rapid camera levelling, = great advantage ‘ahon filming on uneven ground. Underwater housing. Enables the dive to film dawn to a depth of 300 ft Absolutely watertight, highly stable and very simple to handle under water. The ‘camera is quickly removed and fitted Into the housing ‘without too Bolox super titler. A high-procision instrument light yet robust, enabling you to produce a wide variety of titles, as well 36 special and tick effects, with excellent rests, Carrying eases. Severs! models available in good ‘quality leather and in aluminiars, {In preparation. A special electic motors now being designed for single frome filming, for use with or with48 Bolex $-321 sound projector. This projector is engineered with the same high precision as your ‘camera. It makes the perfect partner forthe H 16 Retlax land does full justice to your sound and silent fins Furthermore, it ensures complete film protection and permits recording of sound on films with magnetic ‘tip, Frequency range: ‘Magnetic sound: 50 t0 10,000 oycles/sec. + 3 decibels Optical sound: £0 to 7,000 eycles/sec. + 3 decibels BolexS-311 sound projector. Has the same features ‘5 the $321, but is designed uniquely for projecting ‘optical sound fms, Arplifier: Frequency range: 30 to 16,000 cycles/see, * 3 decibels Power output 15 W Loudspeaker: Built into the projector lid, power output: 6 W Auxiliary (available as accessory), power output: 20 W “HF” lens 3 focal lengths available: 36 mm 1/13 — 50 mm 1/13 = TommiIndex Acclaroted sion ‘etna nies tales ‘consone, losing te wiser Conta evar for top ormere Conta ever Sr vate Suter Depo fale Biapuoa Double eparies Ea ier" Feat Fea Fongo® con Seana San ‘Srranee tens cap tie sai plane dita te i sco: sooner. Mot FES! cso ls ow Pete Prose | ‘Sel ier {able of exper es. ekphe tenes Tar Tvl it Tk ace Te agers sing Wie anete ne