Retro Thing

The Bolex Bible

Shopping for a Bolex 16mm movie camera can be confusing, which makes Andrew Alden's £15 Bolex Bible an essential aid. You can pick up an early model H16 for a few hundred dollars, while a shiny new SBM will set you back around $4,400 plus the cost of a decent lens. Alden's book explains what the differences are, and what features you should look for when hunting for your dream camera. The £15 spiral bound book features 100 fact-filled A4-size pages and dozens of black & white photos that give an overview of the H16 body, lenses, motors and accessories. There's even a brief section on loading film.

The Bolex H16 is one of the most popular 16mm movie cameras ever made. The original H16 was introduced in 1935 and the modern spring-operated SBM model can still be purchased new. Bolex cameras remain extremely popular among film students and experimental filmmakers, because they're capable of capturing images that put sterile "High-Def" camcorders to shame. It's even possible to convert vintage cameras to shoot modern widescreen Super 16mm format.

By the way, Alden also runs the Bolex.co.uk site and offers a range of second-hand outfits at prices ranging from £450 ($900) to £1100 ($2200). If that's out of your price range, you could just pick up one of his basic black Bolex t-shirts and pretend. I won't tell.

The Bolex Bible

For Sale: Charlie Chaplin's Movie Camera

Christie's will be auctioning the Bell & Howell Model 2709 camera once owned by Charlie Chaplin on July 25, 2007 [update: It didn't meet the reserve bid]. It is expected to fetch between £70,000 and £90,000 ($140,000 to $180,000). The auction includes a copy of the original sale document indicating that the device was sold to Chaplin about a month after he founded Chaplin Studios Inc. with his brother Sydney in 1918. At the time, this state of the art device sold for $2,000 - about $31,000 in 2006 dollars.

The Bell & Howell 2709 was a hand-cranked 35mm camera that became the mainstay of Hollywood silent movie production upon its introduction in 1911. In fact, nearly every major Hollywood production of the era was shot on a 2709 or its competitor, the Mitchell Standard. Unbelievably, this model remained in production into the 1950s, although I suspect many of the later units were used for animation purposes, rather than hand-cranked live action.

Chaplin's company owned three other 2709s, but this camera is special because it was the only camera purchased by Chaplin himself -- one of the few Bell & Howell 2709s owned by an individual. It is very likely that this camera was used to shoot some of his most important work, including A Dog's Life (1918), Shoulder Arms (1918), The Kid (1921) and The Gold Rush (1924), since the studio possessed only one other Model 2709 during this period. It's also probable that the camera remained at Chaplin's side through the 1930s, when he continued to cling to silent film while others made the leap to sound. As a result, it could have played a role in the production of his highly regarded later works including City Lights (1931) and Modern Times (1936).

This auction lot includes the original camera, a selection of lenses, a Mitchell side-mount viewfinder, wooden legs and a pan-and-tilt head, along with four top-mount "Mickey Mouse Ears" 400 ft. Bell & Howell film magazines. Interestingly, the magazines aren't the originals that were shipped with the camera, for the simple reason that these were probably worn out from years of hard use.

It is hard to imagine any other vintage camera that had such an enormous impact on the film industry. Modern equipment is usually rented from companies such as Panavision because of its prohibitively high price, so the cameras remain largely anonymous. This particular machine had a far more organic relationship with its owner, since Chaplin and cinematographer Rollie Totheroh hand-cranked many thousands of feet of film through its magazines over the span of decades.

New Old Stock Chinon 8mm Movie Cameras

Jack Berg Sales is a wholesale liquidation company that offers a variety of strange electronic gadgets from the 1960s and 1970s. We first mentioned them several of years ago, and RT co-author Bohus just reminded me of their existence. Their prices are incredibly steep, but where else are you going to find brand new 8-track stereos with stacking turntables these days?

One device in particular caught my attention: A brand new Chinon Zoom 8 Movie Camera from 1963. It features a Chinon 9.5-30mm f/1.8 zoom lens, electric eye exposure and runs on 4 x AA batteries. This camera is several years older than Kodak's Super 8 cartridge format and uses "Regular 8" film on tiny 25-foot reels (available from John Schwind's International Film, prices start at about $10 for B&W). Strangely, it's mis-classified under "Video Equipment."

Classic 1960s Chinon Zoom 8 Millimeter Camera

Modern Stop Motion Animation

Super 8 movie cameras are exceedingly good at messing around with the fabric of the space time continuum. Most of them are capable of filming at a wide variety of speeds, making slow motion and time lapse sequences a piece of cake to shoot. All but the cheapest models offer a single-frame mode that's perfect for stop motion animation. The idea of dragging long strips of photosensitive plastic past a piece of glass might seem quaint these days, but modern consumer camcorders can't shoot at variable frame rates and while many can capture single frames, they can't automatically stitch them together to create an animation. You'll need an "old fashioned" $20 Super 8 camera for that.

There is hope for stop motion animators who want to shoot with digital equipment, thanks to modern digital still camera technology and some clever software. Programs like Stop Motion Pro are capable of controlling a wide variety of digital cameras, including some affordable point-and-shoot models. The program costs anywhere from $70 to $595, depending on the features you require. The basic package is suitable for hobbyists, while the more costly versions add uncompressed image storage, unlimited resolution and multi-monitor output.

Of course, there are literally dozens of programs that do similar things for both the PC and Macintosh. If you're a stop motion animator, feel free to share your favorites in the comments.

Stop Motion Pro animation software

Pclix LT100 Time-lapse Photography Controller

One of my favorite things about shooting Super 8 movies is that many S8 cameras include time-lapse controls so you can snap single frames with a variable delay. This lets you film "moving cloud" effects and accelerate other scenes at your whim and fancy.

The $139.95 Pclix LT100 makes it possible to add similar capabilities to a variety of modern digital cameras (it will also work with Super 8 movie cameras and film cameras equipped with an electrical 'contact' shutter release). In essence, photographers now have the ability to shoot incredibly high quality time-lapse movies using the full resolution of their modern DSLR cameras. The LT100 is an elegantly simple device that can run for a month straight on a single pair of alkaline AAA batteries. It offers 99 interval settings (ten of these can be user customized) and a bright red Instant Fire button.

A variety of control cables are available, starting at $12.95 for a generic contact switch closure cable and ranging up to $39.95 for a Canon N-3 infrared controller (which also allows the Pclix to function as a wireless remote control).

More about the Pclix LT100 time-lapse controller

Bolex Double Super 8 Movie Cameras: Surprisingly Affordable

The Bolex H-16 is one of the most popular 16mm cameras in the history of film. First introduced in the late 1930s, tens of thousands of these workhorse Swiss spring-drive cameras have been manufactured. If you're shying away from getting your hands on one because of the high price of 16mm film, consider purchasing a Double Super 8 (DS8) Bolex instead.

We briefly mentioned DS8 a few weeks ago; it's a hybrid format that uses 16mm wide film to capture Super 8 sized frames. One half of the film is exposed, the reels are flipped, and the other half is shot. The 16mm strip is cut into two 8mm reels after processing and can be projected or transferred as "normal" Super 8 film.

JK Camera modifies Bolex H-8 Standard 8mm cameras to accept DS8 film. A Bolex H8 Rex-3 camera body converted to Double Super 8  costs $445 with 10x TTL viewfinder. The sprocket holes are aligned with the center of the frame and enlarged film claws are installed. The reel spindles also have square adapters to accept 16mm film reels. The mod offers several key advantages: Super 8 has a significantly larger image area than the older Standard 8 format, a DS8 camera will provide more stable image registration (the frame won't jump and weave as much) and you'll get 4X longer running times than 16mm.

JK Camera's Bolex Page [DS8 cameras are at the bottom]
Affordable Bolex movie cameras

Yet Another Super 16 Movie Camera!

There have been a handful of Super 16 cameras announced recently, a reminder that film remains an excellent way to capture high-quality HD imagery. First came the camcorder-sized Aaton A-Minima (around $20,000), followed by the incredibly compact Ikonoskop A-Cam SP-16 ($ 6500) and the absolutely professional Arri 416 (about $49,000). Now it's Aaton's turn again with the new Xtera (price TBA).

The Xtera accepts 400 and 800-foot film magazines to streamline the production process. It offers a progressive-scan video-tap with 640 x 580 resolution (NTSC) to allow the director to follow the action. Best of all, the new camera is compatible with the magazines and viewfinders used in the Aaton XTR prod series, which will allow rental companies to integrate the new camera easily into their inventory. The camera also features an extremely accurate "micro steady" film transport and a direct-drive brushless motor.

The Aaton site is somewhat vague about exact technical details. The camera is apparently "the quietest Super 16 camera," with AatonCode time code for sound synchronization. How quiet? They're not telling. There is no mention of shooting speeds, although I would expect a versatile range to enable slow-motion and other effects. Perhaps most impressive, each 12V 3.8Ah NiMH battery pack is good for 4 hours of shooting.

Needless to say, this isn't the sort of equipment you'll find perched on an amateur's shoulder. It's pro-quality gear that is perfect for shooting TV, films and documentaries. So why is it featured on Retro Thing? Because it once again points out that film is still enjoying its time in the sun. And don't forget that new equipment causes a trickle-down effect. Prior models become less expensive to rent, allowing more indie filmmakers to make the jump from video to film.

Aaton Xtera Super 16 Motion Picture Camera

A New Super 8 Movie Camera!?

It looks like the world is going to see the first new Super 8 movie camera design in over 20 years. Kinda. Super 8 magazine smallformat reports that Swedish manufacturer Ikonoskop is planning a Double Super 8 version of their compact and affordable A-Cam SP-16 Super 16mm model.

The A-Cam DS8 will offer the same features as its Super 16mm brother, including interchangeable C-Mount lenses (the camera ships with a wide-angle f/1.5 9mm Kinoptic lens), parallel viewfinder, 100 ft film capacity, and microprocessor-synchronized frame rates between 6 and 37.5 frames per second. The camera weighs a mere 1.5 kg complete with lens, batteries and film.

Double Super 8 (DS8) is a hybrid format that uses 16mm wide film to capture Super 8 sized frames. One half of the film is exposed, the reels are flipped, and the other half is shot. The 16mm strip is cut into two 8mm-wide reels after processing.

DS8 has a few major advantages: A 16mm film transport is far more stable than the sometimes jittery plastic Kodak Super 8 cartridge, and the format is far more economical than 16mm since it offers 10 minutes of shooting time per 100 ft reel, versus only 2:46 while shooting 16mm. The processed film has exactly the same dimensions as Super 8, so it is compatible with all Super 8 projectors and video transfer devices.

The main downside is that relatively few film stocks are available in the format, although the word on the street is that at least one small retailer has begun offering Kodak's beautiful Ektachrome 100D reversal film.

Leif Bystrom of Ikonoskop AB in Stockholm has announced that the company needs orders for at least 25 DS8 cameras for the project to make financial sense. As a result, they will build the model if 25 potential customers are willing to make a € 1000 deposit. The DS8 version will carry a list price of € 5,200 (the same as the SP-16) but customers who pre-order will be receive a € 1000 discount.

This looks like a fascinating camera for shooting music videos and indie films. If you're interested in acquiring one of these exclusive devices, send an email to [email protected] with the subject "Early adopter for the A-Cam DS8."

Ikonoskop A-Cam Motion Picture Camera [Only the Super 16mm appears online]
DS8 diagram from INTO 8MM FILM

Classic Retro Thing: Modern Movie Cameras

Believe it or not, there are some fantastic and (almost) affordable 16 mm motion picture cameras on the market. Here's a look at four drool-worthy models that have been featured on Retro Thing. They range in price from about $7,000 to more than $40,000, so you might want to consider renting.

Ikonoskop A-Cam: Swedish newcomers Ikonoskop decided to produce the smallest, lightest, least expensive Super 16 camera possible. They did away with luxuries such as a through-the-lens reflex viewfinder and built-in video tap.

Aatom A-Minima: The Aaton A-Minima is a brilliant little movie making device. It weighs a mere 5lbs, somehow appears classic and bleeding-edge at the same time, and shoots top-notch Super 16 images.

Bolex H-16: Most modern H-16's are electrically-powered EL units, but it's still possible to buy a brand new spring-operated SBM model -- expect to get around 20 seconds of shooting time from each wind.

ARRI 416: The king of the hill. The sleek little 416 Super 16 camera is Arnold & Richter's first all-new 16 mm design since 1976. It weighs a mere 5.5 kg, including camera, loaded magazine, viewfinder and video assist.

B&H Filmo - The original home movie camera

The Bell & Howell Model 70A Filmo was released in 1923 at a cost of $180 - almost 2 month's salary. It used 16mm film (Kodak's affordable 8mm standard wasn't introduced until 1932). Like most cameras of the period, the Filmo used a spring-wound mechanism. It captures respectable footage and will run about 35 seconds on a single wind. In fact, the Filmo proved so rugged that it was used as a combat camera in WWII and was ultimately produced in at least ten variations.

The Filmo weighs six pounds without lenses - it's body is mostly steel and magnesium. There is no TTL (through the lens) viewfinder, making image framing and focusing a unique challenge for modern filmmakers. There were also no zoom lenses. To get around this limitation, B&H incorporated a 3-lens rotating turret that let you select different focal lengths as required. Respectable Filmo 70DR bodies cost as little as $300. As an added bonus, the Filmo is compatible with modern 16mm film from Kodak and Fuji, letting you combine new and old.

The Incomparable B&H Filmo 16mm camera (TFG Transfer)

ARRI Breathes New Life Into Super 16 Filmmaking

ARRI is a German camera manufacturer with a long and distinguished history. They introduced the world's first cine camera with a rotating mirror viewfinder system in the 1936, and have produced thousands of professional motion picture cameras since. The sleek little ARRI 416 Super 16 camera is their first all-new 16 mm design since 1976. It weighs a mere 5.5 kg, including camera, loaded magazine, viewfinder and video assist.

The 416 is well equipped to shoot HD-quality images suitable for television, documentaries, and indie film productions. A state of the art sound-dampening system reduces film transport noise below 20 dB -- quiet enough that you'll wonder if it's operating. The design includes a brand new 400-foot (120 m) shoulder film magazine that's twice the size of the one incorporated into the ultra-compact Aaton A-Minima. All the bells and whistles like integrated timecode and PL-Mount lenses are accommodated, as well.

A wireless antenna (to the right of the ARRI logo in the picture) transmits a video feed to provide a remote video image for the director without requiring an annoying cable snake. A secondary video output allows you to run an on-camera screen at the same time (for use with a Steadicam). The machine also features a beautiful optical viewfinder that was originally developed for their compact ARRI 235 35 mm model.

It goes without saying that a professional camera of this quality will sell for a small fortune, but it should be a smash-hit on the rental market. The first deliveries are slated for late 2006 at a price similar to their current ARRIFLEX 16 SR3 Advanced (approximately € 36,800 plus lenses and accessories).

ARRI 416 Super 16 mm Camera (Manufacturer's product page)

Desktop Movies: Elmo 912 Super 8 Film Viewer

Film projectors require considerable space for setup and viewing. If you’re looking for a quick and easy way to watch your film, consider purchasing a desktop film viewer. These little systems have a small backlit screen that’s perfect for reviewing and editing your reversal (projection) footage after you get it back from the lab.

I own a sturdy little Elmo 912 viewer, but Goko and Minette also made excellent examples. They’re usually inexpensive – well under $100 – and often appear on the used market in good condition. They can be a tad hard to find on the garage sale/pawnshop circuit, though.

This Elmo 912 picture comes from Mondofoto, the visual encyclopedia of Super 8

Fujifilm To Discontinue Single-8 Movie Film in 2007

Giles Perkins drops by with some sad news on the film front:

In the forty year VHS vs. Betamax-like battle of Super 8 vs. Single-8, it seems that Fuji have thrown the towel with their announcement that they are ceasing production and sales of their arguably superior 8mm format. Released in competition to Kodak's Super 8 format, the Fuji Single 8 format features a simpler cartridge design as well as a clever in built camera pressure plate design to ensure perfect film registration. Just like Betamax before it, Single 8 may ultimately be resigned to the "where are they now file", but hope springs eternal and the recently released Cinevia Single-8 stock may just give the little film a last gasp. Single 8 we salute you!

[James' comments: Fuji's Single-8 cartridge film was introduced in 1965. It was designed to compete with Kodak's famed Super 8 format, but didn't enjoy much success outside Japan. Sales dwindled to an estimated 14,000 cartridges last year. Fujichrome R25N and RT200N color stocks will be available until March 2007, and processing will be discontinued in September 2008. The only other source for Single-8 film is Retro Technologies in Tokyo. They offer Fuji's Velvia 50D color slide film for motion picture use, along with their B&W Retro-X emulsion. Sadly, Velvia 50D was recently discontinued as well, so supplies may be limited.]

Fuji gives notice on Single-8 (onSuper8.org)

Digitize 8mm Movies With The FlashScan8

The FlashScan8 is a digital film scanner capable of capturing Super 8 and Standard 8mm film in real time -- up to 25 frames per second. It uses three frame CCD image sensors to record the image and features an LED light array light source that provides uniform brightness across each frame.

The system can handle reversal (projection) films as well as modern motion picture negatives. It's possible to perform color correction without external hardware, and there's an integrated sound head to transfer synchronized sound tracks. To make things more attractive, the FlashScan is modular, allowing you to add a remote controller. It can even be rack-mounted to save space.

The price? Around 30,000 euros, which puts it within reach of professional film conversion houses. If you're on a more limited budget (aren't we all, these days?), check out the $1395 Moviestuff WorkPrinter XP.

FlashScan8 Digital Film Scanner

Super 8 Projection: More Fun Than A Big-Screen TV

One of the most enjoyable things about Super 8 technology is projecting your movie masterpieces. If you're lucky, you can pick up a decent Super 8 projector for a few hundred dollars. You'll need an editor/viewer as well so you can edit your masterpiece before showing it to your wildly enthusiastic friends (I find that it really helps if they appear in your movies. If that's not possible, ply them with lots of liquor prior to the show).

You can project onto a blank wall, or even show your film on a garage door or outside wall if you'd like to get your neighbors involved. Remember that Kodak no longer manufactures sound film, so chances are your masterpiece will be silent. If you're feeling really adventurous, you can record a soundtrack on CD and synchronize it with your film by eye/ear. If not, just crank up the stereo with a few tunes that fit the on-screen action.

Projectors are heavy to ship, so it makes the most sense to purchase them locally from vintage camera shops or film aficionados. They also available online through places like Phil's Vintage Movie Films and Collectibles and eBay.