Paillard Bolex Cine Guide Not instruction on the camera Reference guide

-1

8 mm BOLEX CINE.GUIDE





        Editor: Paillard S. A. Salnt6.Crolx (Switz€rtand)

You have just acquired a Bolex camera, a modern camera
which at once puts you in control of a real miniature studio.
Nothing is complicated with a perfected, reliable, precision
camera in which you immediately have confidence. The
important thing now is to make a success of your first films
so that you want to go on making movies.
Making a movie means telting a story-not with words, but
in pictures, splendid living pictures to see again and again
and always with pleasure.
There is no doubt that you will very soon want to s[ow your
results to your family and friends. Accordingly, you will
not only want to be satisfied yourself but also to amuse
and captivate your audience; more demanding and less
indulgent than you may perhaps think.
The Bolex movie guide aims to help you to find the best way
to produce first-rate films, .which do credit to the movie
maker who created them.

www.butkus.us
HOW TO MAKE SUCCESSFUL FILMS

Amongst the many pieces of advice you will find in the Bolex movie guide
you should pay particularly careful attention to those concerning  the
following:
                                                            page  I I                             Steadiness of the camera -
A quality picture is first and foremost a steady picture.
Bolex olTers you highly efficient equipment for this purpose.
                     Exposure ofthe film  page12
The Bolex built-in exposure system will ensure that you always
have a properly exposed picture. But there are a few other things
you also need to know about exposing your films.

Focusing the lens - page 14
which presents no problem, but which,  if it is overlooked, be-
comes the cause of those unforgivable blurred pictures.
                          Camera movements.- page 30
The oanoramic shot and zoom effects which should not be over-
done and the success of which depends on clementary, but strict,
rules.
Framing -  page 24
The alternate use of different focal lengths is the main secret
of films full of life and movement
We also advise you to film at close range.

www.butkus.us





            The projection of a film composed of
                 clear, steady, well exposed and well
             framed pictures should be the main
               concern of every movie maker.
         A good quality picture is a product of
                  three factors, namely: steadiness of the
              camera, exposure of the film, and fo-
                cusins of the lens.





                'r                - :..                           ,.!'                   .                        !l  -
r,.         :.'.:.'                      I
-''-..,-t,*i..,.:; ..f,i:ltl,:               ,.',              *'* :
 ,'',*-'&,

STEADIIIESS OF THE CAMERA
il


                                                                         It is important to ensure maximum steadiness of the camera when flming.
                                      The slightest jolting of the camera is magnified in projection and makes
                                                   the picture dance on the screen. You should take exira-care when using a
                                                  long length lens, filming at a speed below l8 f.p.s., or moving the cameia.



                                            tle tripod is ideal for giving steadiness in such cases. Do not imagine that                                                            all tripods are heavy, clumsy, and difficult to carry. If circumstances do
                                               not permit you to use a tripod, the monopod is a great help.
                                             The grip gives you a good hold on the camera; you will increase the camera's
                                                     steadiness  still further by pressing  it against your forehead or cheek; try
                                                    to lean your elbows on a steady support (such as a wall or a tree-trunki.
                                        Guide the camera slowly, without jerks and without moving your body.
                                         Your position will not perhaps be very graceful, but steadierpictures  will
                                                            result. And that is the main thins.

www.butkus.us


EXPOSURE OF THE FILM
The exposure of the film, once so harmful to the pride of
many a beginner, no longer demands the sacrifice of several
feet of film.





By providing the most recent cameras with a
built-in lightmeter, the designers have freed
the movie maker from all technical worry,
assuring him of success from the very start.

And what about you, Madam, with your up-lo-date Bolex camera, with
which you make perfectly exposed movies? Can it be held against you that
you know nothing about diaphragm aperture all the time you are filming?
No. You put your trust in the built-in  cell which mcasures the light ac-
curately. and you are right to do so.
lf yo film wilh a manually controlled diaphragm with a view to achieving
certain special lighting effects, here is some information about the exposure
of your film:

The exposure of the film depends on
 film.ensitivity-, diaphragm  aperture, and filming speed. The greater the
 sensitivity of the film, the larger the diaphragnr (ihe highest fig[rres corre_
 spond to the smallest apertures), the lower the camera ipeed tie more the
 film will be exposed, and vie versa.
 Thu.s, for a film ofa given sensitivity and for a given camera speed, you can
 modify exposure by adjusting the diaphragm ring. But a rord of iming.
 Remember  that opening and closing the diaphragm by one stop  is equivalent
 to narvrng or doubtlng the amount ol light which passes through the lens:
setting f/4 lets twice as much light through as setting f/5.6.
The function of the diaphragm  is therefore to control the amount of lisht
which reaches the 6lm.


As a rule, it is not recommended to clore dom the diaphragm bevond
f/ l6 for fearofdiffraction efect spoiling the quality ofthe piciure.iftherifore
you     wish              film  in-                    strong                                light (snow                                        water                                      or                             wne in bright                                                                         sunlight),
instead        of^to_closing                  the                    diaphragm                                                                paitly                          down                                         to                                           the maximum,                                                      clos tne
variable shutter of you camera. Remember that this feaiure allows the
exposure time for a given speed to be reduced. (See page 4? on the use of the
variable shutter for obtaining special effects)

                                                                                      l3

www.butkus.us


FOCUSING

The high quality of the lenses and the film ensures remarkable
picture sharpness at the various focal lengths.
The focusing of the lens is no problem or bother to the movie
maker; he need only remember to make a simple adjustment
before filming, or no adjustment at all, according to the lens
he is using.

In fact,
If you possess a fixed focus lens
This has no focusing ring. Without special adjustment  it gives clear pictures
between infinity and short distances depending on the diaphragm used.

With an adjustable focus lens
You need only estimate the average distance at which the subject will have
to be filmed and set it on the focusing ring ofthe lens.
N.B.-the  shorter the distance, the more accurately   it must be measured.
Certain Bolex cameras make this focusing extremely easy. With these
cameras. there is no distance to be measured: a clear reflex viewfinder with
rangefinding device or ground-glass screen will allow you to check at a
glance the perfect focusing of your subject.

WHAT IS THE DEPTH OF FIELD ?il
                                                          It is the zone in which the subject filmed will give a sharp image. If two
                                                subjects are at differenr distances or if, in the couise offilming, tnJorstances
                                         b:ry::n the subject and the camera vary,  it is essentiai  t. t?"*  tn. J.ptt                                                 of field of the lens.

                                   The depth of field varies according to the rocar length of the lens, the dia-                                    phragm aperrure and the takine disrance.




                                         Automatic scales
                               on most of the Bolex lenses sold, a depth of fierd scale indicates the limits
                                               within which the subject wiJl give a sharp image. This scare, either a visifocus
                                                 or compass scale, allows direit checking of tlie depth of fierd. No calculation
                                                            ls requlreo.
                                        Moreover, these lenses are supplied with a depth oflfield table.
                                        Since depth of field is restricted with.a. long focal length lens, an open
                                      diaphragm or a short taking.distance,  it is neiessary whin filming in a'ny_
                                    one of these conditions to adjust the lens to the exalt distance wh]ch sena-
                                                 rates the subject from rhe camera. There must rhen be
                                  movement of the object.                                 ""t;;t-;;;;ri;i;

www.butkus.us



EXACT FRA]\IING OF THE PICTTIRE




This too, is a test of quality.


If you own a Bolex camera with reflex viewfinder, there is no problem. At
all distances,  precise framing is ensured by your viewlinder in which you
see exactly wh-at will be reproduced on the screen when the film is projected.


 If you have a non-reflex viewfinder you must, when filming at short range
(leis than about 5 lt with standard lenses), allow for a slight error in framing
called parallax. Remember that you can correct it by fitting a parallax
correction prism in liont of the viewfinder.
                                                                                                                                  ,

For further hints on lraming see
 page 24, but from now on keep
in mind that close-up  shots,
apart from making the film more
interesting, are usually of better
quality from the point of view of
sharpness.


Lastly, your taking lens
must be clean
On this subject you are'referred
to the special recommendations
given in the chapter "taking care
of your equipment" (page 59).

Perhaps, when projecting your first films, you begin to regret
having forgotten to shoot certain scenes which would now
add to the understanding and interest of your story.
Perhaps also, you reproach yourself with having been too
pleased with other scenes which, when projected, seem long
and of little interest.
So as to avoid these little disappointments in the future,
we advise you to think in terms of projection while you are
actually filming. Decide on the subject and give yourself a
definite line to follow.
Say you are going to film your children in the park.'
First choose the scene of action, then follow the frolics of
your children in successive shots, generally short, taken from
different angles and at various distances, without omitting
any amusing or telling details which emerge. Try to film"the
children without them being aware of it.
There are thousands of other simple subjects: your cats
and dogs, the flower market, the carnival, skating, the
fishing village, the horse show . .  .
If necessary note down on a piece of paper the details which
have already struck you, so as not to forget to film them in
the heat of the moment.

www.butkus.us
4"-     :tr3


                 Once your camera is loaded and you have your subject, the
                    next question is to make your film. Whether you are aiming
                         at a family film, a travel film, a documentarY,  9r a story film,
                   your role is that of a story-teller. And your film must have
                           itt ttre qualities of a good story---<ontinuity, interest,  life.
                  Here are a few elementary rules which will be of help to you
                         1. Never make the mistake of filming the complete action from one position
                       too far away, and do not think you have to frame a person  full
                                length.  If the action lasts too long, divide it up into several shots or
                               scenes taken at different angles and at different distances.
                         2. The average length of a take is 5 to 10 seconds.  It varies according to
                                the content of the Picture.
                        Example: 3 beach scenes:
                          Scene l:  General view ofthe beach.
                                The scene must be long enough to allow the spectator seeing
                                           the film to make out the various activities and to identify the
                                               actors.
                                    Lensth: l0 seconds'
                           Two young bathers-7 seconds will be sufficient to capture
                                           the tates thiy pull and their laughter, and to express  in pictures
                                        the fun ofsplashing about in the water.

,r   &  "  r  ot'


                 Scene 3 : One person picked out, motionless as a statue: the action is
                          simple-length of take: 5 seconds.
             3. Change the angle of your shots frequently.
             4. You do not always have to film from eye level. You can take high angle
                 shots with the lens pointed towards the ground, especially to frame a
                   subject in relation to a viewpoint.
           On the other hand, with the lens pointed upwards, you will achieve a
               low angle shot with the certainty of dramatic effect (enormous human
                     figure).
              Such high and low angle shots must be used with care because of the
                   distortions  of perspective they create.
                 '5. Vary the framings (see page 24).
              6. When you approach a subject by successive shots, move from the most
                 general to the closest up, but never in a straight line. When the film is
                  projected, the effect would be disastrous. It would give the impression
                  that the subject is moving forward in jerks. Shoot each scene from a
                    different angle.
             7. Never film quickly-moving subjects at right angles, but catch them
                  three-quarters-on before they pass in lront of you.
            8. If the mechanism of your camera stops while you are filming, do not
                      . resume shooting at the same angle. Move your position: the interruption
                    will be less noticeable.
             9. To avoid monotony, vary effects and use them sparingly; your Bolex
                camera has sulficient features to allow you to do this (see pages 47 to 52).

www.butkus.us


             A WORD ABOUT SPEEDS
            A knob on your camera gives you the choice of several
                          filming speeds.
                                In most cases, you will keep to the speed of l8 frames per second, which is
                               the normal filming speed for 8 mm film. An identical projection speed will
                                give good reproduction  of the tempo and action, free of flicker.
                       You can, however, modify the filming speed with a view to slowing down
                          and speeding up actions when projected.
                         Below 18 f.p.s. :  fast
                        Above 18 f.p.s.  . slow
--                      What12 f.p.s.-ais the advantageboat  is comingof this?into port. The entire action would use too much
                                     film and would tire the spectator by its excessive length. By using this speed,
                           you will slightly speed up too slow action (cloud movement, lor example),
                          and at the same time save film.
                           Another advantage of using l2 f.p.s.: it will sometimes allow you to film
                                  in light conditions which are not adequate for a normal speed. Each frame
                                 gets a longer exposure of time, and your pictures will be correctly exposed
                                in the case of scenes shot in woods. in a narrow street, inside a historic
                                   building, or at night. The speed of moving subjects however,  will be speeded-
                          up in projection.
                          Make'sure that your camera is quite steady (a tripod is strongly recom-
                              mended).

F*                        fu*
 Speeds above l8 f.p.s.                                                                                                                                                     l
Z f.p.s.-this speed does not give a slow motion effect. It simply makes
movements more fluid.  It is recommended  for the filming, without a tripod,
of scenes involving a lot of fast action. On the other hand, if you are lilming
from a moving vchicle, the speed of 24 Lp.s. is recommended.
32 f.p.s. to 48 f.p.s.-These speeds give slow motion  ell'ects which are
suitable for sports scenes,  e.g.. water skiing, horse-back riding, and at all
times when you intend to film fast movement.
64 f.p.s.-This speed is lor marked slow motion. Use it to break down and
analyse actions. The results are surprisingly beautiful, whether it is a horse
clearing an obstacle or a wave breaking over a rock.
For all speeds above l8 f.p.s., fully wind the mechanism of your camera,
for you will have a lot of frames to record in a short time. For speeds above
32 f.p.s., takes should be short (2 to 5 seconds).
Very high speed is obtained by means of single-frame shots. This speed,
with which you make animated  films (see page 49) can be of great advantage
for speeding-up extremely slow action (operation of a swing-bridge, for
example). Film the action framc by lrame at regular intervals: the accelera-
tion of the movement will depend on the nurnber of frames recorded in the
course of the entire operation-a  small number of frames gives fast motion.
You can also take advantage  of the comic effects obtainable with this oro-
cedure.

Again, make sure that the camera  is steady.

The general view places the subject in a setting. It
shows the audience the scene where the action is
to take place, and sets the atmosphere (general
view of the stadium before the beginning of a
game, for instance). The general view has an
essential place at the beginning of any sequence.
It helps the understanding of the story of the film.
The medium shot: the person is framed fullJength.
This is primarily a transition  shot, which avoids
passing brusquely from the general view to the
near shot or close-up. It is also an essential step
in going from a close-up to a general view. To
jump from the one extreme to the other is
inadvisable;  it breaks the principle ofcontinuity
which allows the audience to follow your story.
Use it only in exceptional cases such as dramatic
shock, for speeding up the tempo.
The close-up: this is the ideal shot for detailing
the subject, bringing out the finer points, captur-
ing an expressive attitude.
Film in close-up, you will always get great satis-
laction from it.

HOW TO PASS FROM ONE FIELD OF VTEW TO ANOTHER
or the advantages ofthe zoovr lens


A Zoom lem offers a complete range of focal lengths, from wide-angle to
telephoto.  It gives you an infinite number of lenses combined into a single
one. Now, a change of focal length corresponds to a change in framing.
With your eye to the viewfinder, you operate the focal length control lever
and accurately frame a general view, a medium shot, or a close-up; in the
same way and just as quickly you pass from one to the other, but taking
care to change the camera position between 2 scenes so as to avoid ajerky
effect in projection.
If you camera has a turret with 2 or 3 lenses, you will, by simply rotating
the turret, pass rapidly from one focal length to another, at the same time
enlarging or reducing the angle of view.
If you orvn a single lem camera, you must, to vary the framings, alter the
distance between subject and camera.

www.butkus.us





WHAT ARE THE VARIOUS FOCAL LBNGTHS FOR?


12.5 13 mm: standard length; this is the focal length you
will use for filming most of your scenes (close-ups or normal
shots).


5.5 9 mm: to be used for filming general views when you
have no space to move back-indoors, for instance, or in
 front of a statue or a large building.
With the wide-angle lens, the effect of perspective is accen-
tuated. This alteration of perspective comes into its own
when you are looking for a special  effect, a dramatic high-
angle shot, for example, or again when you are lilming a
moving vehicle and want to give the illusion of great speed.
In addition, the wide-angle lens gives extensive depth of
field and steadier picture.

23 40 mm corresponds to the focal lengths of a telephoto
 lens, which is commonly said to bring distant subjects nearer.
You will, in fact, use it to bring out a detail in distant
 subjects. It also gives excellent results in filming very near
 subjccts. Film a general view of hands or face with a 25 mm
 lens which magnifies 2x, or a 36 mm which magnifies 3 x.
 Unlike the widi-angle  lens, the telcphoto lens "flIttens out"
the perspective.
When filming with a telephoto lens:
- make sure that your camera is very steady; do not hesitate
   to mount  it on a tripod  if you have one  ; if not, use a mono-
  pod or use a natural support (wall, tree, etc.);
- take some precautions with the light. If distant subjects
  are involved, you can improve the pictures by putting a
   filter in front of the telephoto lens. For this, please refer
   to pages 45 and 46.

A movie maker with a full range of lenses has new possibilities
of expression at his disposal. And do not forget either that
diflerent focal lengths mean different framings, and thus
variety and fluidity,