Hello, I’m looking to buy Bolex Rex 2-4. With shipping to Europe

Bolex SBM 16mm Camera Kit

Comes with Kern Vario Switar 16-100mm 1.9 lens, body and lens caps, lens hood, Rex fader attachment C-mount, Nikon F and m42 adapters, slow shutter release, replacement cranks, and pistol grip.

Can provide footage shot on the camera.

$5500 obo, shipping included

Hi all,

I shoot with a Bolex H16 EBM and I'm looking for a way to view through the reflex finder from above or below (low-angle and high-angle shots), not just from behind the camera.

I haven't found any dedicated angle finder for the EBM, so I'm thinking of adapting a photographic right angle finder to the eyepiece. Candidates I'm considering:
- Minolta Angle Finder VN
- Canon Angle Finder C (interchangeable eyepiece adapters)
- Nikon DR-6

My questions:
1. Has anyone already adapted an angle finder to a Bolex EBM (or EL / SBM / Rex)? Which model did you use?
2. How did you make the adapter ring: machined, 3D printed, modified eyecup? Any files or drawings you could share?
3. Is the image still bright enough for focusing, given the Bolex finder is already quite dark? Did you combine it with the 13x viewfinder?
4. Any issues with light leaks or the douser?

Photos of your setup would be hugely appreciated.

Thanks!

Hey! I am looking to purchase a Scoopic ASAP. I havent found any great posts on Ebay or marketplace, so figured I'd throw it out here as well. Let me know if you have one that you might be interested in selling. Thank you!!

Anyone have experiences/opinions they could share regarding processing 16mm double x as reversal compared to processing it as negative? And the differences in sharpness and latitude and grain? Double x has rms granularity of 14 vs tri-x rms of 16-17.
Trying to achieve an extra fine grain image as possible, similar to Plus-x I guess, without shooting on colour negative vision 3 or ORWO UN54 which has 12 rms etc
And/Or tri-x processed as reversal vs as a negative?
As well as specific processing development method and chemicals to achieve as fine grain as possible? Thinking to try develop double x in an extra fine grain developer like ilford perceptol or Kodak xtol/d-96. Overexpose 1 stop then pull 1 stop in development?
Or as reversal?
Thank you

Any tips, tricks, or advice on things to be aware of, common pitfalls etc when shooting on 16mm with a Bolex H16 Reflex?

For context, I’m shooting an experimental film on 16mm soon and am really nervous about getting it all wrong!

Basically, I’ve shot on 16mm one other time and the film was completely unusable and I’ve no clue why / what happened (and couldn’t get the film back to try and figure it out). I’m doing as much research as I can and I’ve shot 35mm stills on old USSR cameras completely manual without a light metre so understand light to some extent.

Any tips, tricks, or advice on things to be aware of, common pitfalls etc?

We’re shooting on Kodak Vision 3 500T & 250D and Kodak Eastman double x negative 7222. Indoor shoot, one location, I’ve been told there’s a lot of natural light.

Shooting on Bolex H16 Reflex Camera with
16mm f2 Schneider Kreuznach Lens & 0.7 inch f2.5 Taylor Hobson c-Mount Lens.

Would appreciate hearing from anyone who’s shot on the above film stocks in lowish / natural light.

Thanks in advance for your help :)

PSA for those home processing freaks who have spent hours washing, wiping, and cursing their stock pre- and post- develop: Kodak has implemented their new Anti-Halation Undercoat layer, or "AHU", replacing that black gummy remjet. According to this American Cinematographer article, it performs remjet's jobs better, and is more environmentally friendly.

I learned this tonight as I was attempting to pre-wash remjet off some 250D, and wasn't getting anything but a vague pinkish hue. The packaging of my stock has no mention of the AHU layer -- I looked up the CAT number through Kodak and found that it was included in the new AHU shipments. Lucky me! Excited to scan it to see the results.

Shot this short film with expired Vision200T 7274 from 1996.

Filmed with a Krasnogorsk-3, sears 28-85mm vintage zoom lens with a bpm#1.

Hi All,

I have a Beaulieu R16 that was owned by my grandfather and probably hasn't been run in over 40 years. It looks to be in excellent condition and has a bunch of accessories, including what appears to be a power adapter so it can be run off AC instead of the battery.

To ensure I don't do any damage, is there anything I should do to the camera before plugging it in and testing it?

Thanks for any suggestions.

My Bolex H16 Rex 2 is sometimes, scraping of some of the film strip, resulting in the body of the camera being filled with this brown film-dust, and tiny strands of film, that then piles up and gets in the way of the shutter/frame.

The camera is running super smooth otherwise, and supposedly had a service before i bought it last year, anyone else have experienced similar problems?

Unfortunately theres no 35mm group.

Hey everyone,
I picked up my Aaton XTR Prod after getting a HD Tap installed. It came back with the view finder mechanism stuck in an upright position.
The knob which Is supposed to lock the mechanism unscrews but doesn’t loosen it at all, the friction adjustment ring also doesn’t do anything.
Has anyone had a similar problem? 
The tech is currently unresponsive and trying to see if there’s anything I can do without getting it reserviced.
Any tips would be much appreciated 🙏🏼

I am looking to convert my Canon Scoopic M from standard 16mm to ultra16. I reached out to several different labs and individuals for a professional conversion. Every response I received said that the service was no longer available or it would be several months before they could get to me.

If anyone has any experience or insight that may help me while taking this project on, I would greatly appreciate it. As of now, here is my approach. 

1. Remove film gate

2. Take measurement of gate, mark 11.66mm

3. Carefully secure gate into bench vise grip

4. Use flat needle file to remove roughly 0.7mm on each side

5. Diamond needle file for last .2mm

6. Polish and finish to ensure no film is scratched

Thanks everyone

Anyone with experiences and opinions regarding using 16mm Orwo UN54? Compared to Tri-X as negative and Double X?
Rated as iso 50 and pulled 1 stop in development?
Seems UN54 has the finest grain RMS of 12 compared to 13 and 13.5 of Foma and 16-17 of Tri-X and 14 for Double X. Found this info online, correct me if I’m wrong?
Wondering if it’s possible get a group custom order of something like T-max or Acros ii cut for 16mm?
I suppose developing UN54 with a solvent action ultra fine developer like Adox atomal or HC-110 ILFORD Perceptol or D-76 Acufine ACU-1 or Kodak Xtol or TETENAL Ultrafin would help reduce grain?

I have this Bell & Howell. I am trying to replace the spring pulleys. Anyone know where to find a reference for how? Dug up some similar model manuals, but didn't have a great deal of luck.

There is one spare in the door, and it seems like I need to open it somehow, feed in and reattach.

As it is I only have the one and would not like to break it. Any advice appreciated.

I'm looking to buy my first 16mm camera, and while doing some research I came across two options: one in Super 16 and one in Ultra 16.

I had never heard of Ultra 16 before. What is the difference between the two, and which one would you recommend for a first camera?

Thanks in advance!

I am making a short film with a fixed light source that i cannot do anything about. I had made sucessfully a push with c41 developer at 6 minutes. Now i have changed lenses to a tele lens century 385mm and the max aperture is 4.5 which would leave me -2.8av. I wanted to do a 3 stop push to compensate, this time around i am using bellini ECN-2 kit. The first test strip i developed was with 9 minutes the density is low and the grain is insane + a blue cast. (Strip on the top)
So then i tried 12 minutes, less agitation and the lomo tank submerged in hot water to maintain the temperature.
I got even less dens negatives… i dont get it.
Any help ? I would appreciate it !

Not sure if this is good spot to ask but I have 40? year old reel of 16mm home movie film (color/no sound) I was hoping to get processed/developed. It’s been stored well. No technical knowledge here but my understanding from one place I contacted is that the chemical used to process that color film is discontinued. Obviously no guarantee anyway, but not sure if I want to risk $100 on b&w. Have many other developed reels in color. I see the place in Aurora CO has closed and wondering if that’s why. Any advice or info is appreciated.

Not mine, found on Facebook marketplace. Wish I could justify owning it, but I wouldn’t get enough use out of it and it needs to go to someone who will. Price seems too good to pass up, and worth the freight to get it to you. I’m located locally and would be more than happy to help coordinate the sale or help move it for the low low price of simply getting to see and touch one of these in person.

Trying to figure out the best combination of Tri-X and developer to get as ultra fine grain as possible without losing sharpness and resolution, and getting as best dynamic range as possible, so balancing everything etc
Seems Tri-X developed as negative instead of reversal is the way to go according to this thread.
Adox Atomal or Ilford Perceptol or Kodak d-76 or Tetenal Ultrafin T-Plus seems best?

https://cinematography.com/index.php?/forums/topic/82916-processing-double-x-andor-tri-x-in-sprint-developer/

Thoughts? Experience? Advice?

Also looking at Foma CINE 100 16mm, it seems to have higher granularity and resolving power than tri-x. Has anyone used it or compared them?