BOLEX S-221 Technical Information

Basic Elements of Filmmaking II HandbookUW-Milwaukee Department of FilmPeck School of the Arts© 2004 Rob Danielson

5. For every step you divided the larger number by two, open-up the lens aperture fromF16 one stop.Answer: 2 steps.Open-up lens 2 stops from F16. Se

Background [far]). Often a third plane is established with intermittent soundelements of medium volume (Middle-Ground). The illusion of space is oft

Appendix

Answer: Overcast skies provide 2 Stops less light than BDS. To convert for theseconditions., open-up lens 2 stops from previous computed value of

SEKONICSTUDIO DELUXE II L-398MOperating Instructions

Features... 2 Specifications...

Nearly all photographic subjects combine complex variations of strongly reflecting surfaces (high reflectivity) and weakly reflecting surfaces (low r

Exposure: Density, Latitude & MeteringDensityThe "black," "grays," and "white" of projected Black & White film

7. After combining film sensitivity and shutter speed, direct reading slides (optional) can be used for directly determining the aperture value. 8.

Measuring System Incident light (reflected light system also capable) Measuring Range At ISO 100, EV 4-1 7 Measuring Accuracy Within ± 0.3 EV (

PART DESIGNATIONS Fror’ pointer xopper button mat Lumlsphera Light sensorm 1 Footcandle scale ,;nrirlan+ linb.+\ P \ Aperture value -1 (for d

Lumisphere Lumidisc Lumigrid Total of 11 direct reading slides (set of 11 slides in case). e; Optional Accessories (sold separately). Direct

1. Stopper Button Operation If the stopper button is press- ed when the stopper button mark is set to the meter needle deflects according to br

Incident Light Measurement 8 1. Lumisphere a. Mount Lumisphere sensor To white dots of Lumisphere frame and light sensor, then turn Lumispher

needle deflects according to brightness. When the stopper button is released, the meter needle becomes fixed at the deflected position. If th

1 c'. g. At this time, the shutter speed scale and aperture scale combination becomes the correct exposure. Example: With High slide inserted,

2. Lumidisc. Employ for illumination contrast Adjustment and luminance measurement. • Contrast measurement a. Mount Lumidisc sensor Install in

• Luminance (Lux) measurement a. Mount Lumidisc Lumisphere. to light sensor in the same manner as b. Place Lumidisc parallel with the measured

Using A Light MeterCdS and PhotoelectricIn the Film Department we currently have three light meters: The Gossen Pilot II, the SekonicLC128 and the Gos

13 Reading this exposure value to perform setting becomes convenient for cameras which employ a light value system shutter and aperture comb

Note: Standard theatrical cine film speed is 24 fps at 1/50 sec. This position is indicated by a red line on the scale. 14 Note

3. Using Exposure Multipliers (-2, -1, +1, +2) Exposure multiplier indications are provided at both sides of the marks of the dial scale. Use the -1

Note: One set of slides consists of slide numbers 1 - 11 in a case. The High slide can also be used as a direct reading slide. 2. Direct Reading S

MEASUREMENT EXAMPLES WITH VARIOUS SUBJECTS 1. Portrait Photography There are various kinds of human subject photography. In a case, for example, of

2. Typical Scenery In the case of scenery, measure by using the Lumisphere at the camera position (refer to section on Incident Light Measurement). A

Distant scenes are subject to haze due to atmospheric effects on light and can be easily overexposed. For this reason, first use the Lumisphere and m

4. Snow Scenes a. Many cases of problems occur with reflected light measuring methods due to snow surface glare. Using incident light measurement

0Note 3: In situations with direct or top lighting (sun near zenith), the Lumisphere will detect reflected light from the snow surface. Some means

In typical cases of back and side lighting, although the surface of a 3-dimensional subject facing the camera becomes dark, a portion is usually str

pointed at the surface one wishes to render as a middle gray value. When rendering faces andother surfaces with detail is a priority, the light meter

APPLICATIONS SUMMARY 1. Special Features of the Studio Deluxe 11 As the Studio Deluxe ll is a high precision measuring instrument, by fully utilizing

2. Illumination Contrast Light balance measurements are the most important application of the Lumidisc. This consists of measuring the ratio of main l

Main light measurement Fill in light measurement Use white or silver reflector to brighten shadow portions of subject. Exposure measurement 25

Illumination ratio can be varied by keeping the main light fixed and varying the fill in light. Reflected Light Measurement Reflected light measureme

Shown here is an example of using Lumisphere and by normal measuring method without slide, meter needle indicates 640 footcandles. With film sensit

b. Hold meter about 15cm from the subject, point Lumigrid to each surface of the subject and read the footcandle scale value. c. To determine the l

The Studio Deluxe indicates normal color photograph luminance range limits corresponding to 2 f stops left and right of the luminance range center p

examples to provide full control over movie scenes. It would not be erroneous to also apply these to still photos. Stage 1 Determine overall lighti

Adjust luminance range a. Install Lumisphere. b. Hold meter at subject position, point Lumisphere toward camera and read needle indication. With a

As can be noted from the above formula, if the subject luminance is fixed and the magnification changes, the film plane brightness (illumination) var

rendered within the 5 Stop exposure latitude of Plus-X or Tri-X. This wide range of reflectedvalues is often the result of uniform, harsh sunlight an

Compensation factor = (M + 1)2 Compression Enlargement . Subject to Compensation Subject to Compensation image ratio factor image ratio Factor 2

HANDLING CAUTIONS Since the Studio Deluxe ll is a high precision instrument, use ample care in regard to the following points. Avoid dropping or subje

©Eastman Kodak Company, 2003September 2003 • H-1-7265tTECHNICAL DATA / BLACK-AND-WHITE REVERSAL FILMKODAK PLUS-X Reversal Film 7265KODAK PLUS-X Revers

2 KODAK PLUS-X Reversal Film 7265 • H-1-7265tEXPOSURE TABLE - TUNGSTEN LIGHTThis table is based on EI-80 (tungsten) and reversal processing with a

KODAK PLUS-X Reversal Film 7265 • H-1-7265t 3NEGATIVE PROCESSINGAlthough designed for reversal processing, this film is capable of yielding useful neg

4 KODAK PLUS-X Reversal Film 7265 • H-1-7265tCURVESCharacteristic CurveModulation Transfer Function Curve Process: Recommended Reversalprocess at 76

5 KODAK PLUS-X Reversal Film 7265 • H-1-7265tMORE INFORMATIONOutside the United States and Canada, please contact your Kodak representative.You can al

©Eastman Kodak Company, 2003August 2003 • H-1-7266tTECHNICAL DATA / BLACK-AND-WHITE REVERSAL FILMKODAK TRI-X Reversal Film 7266We are committed to bla

2 KODAK TRI-X Reversal Film 7266 • H-1-7266tEXPOSURE INDEXESTungsten (3200K) - 160 Daylight - 2001Use these indexes with incident- or reflected-l

KODAK TRI-X Reversal Film 7266 • H-1-7266t 3IDENTIFICATIONAfter processing, the product code numbers 7266, emulsion and roll number identification, em

Plus-X- Reversal 5 Stop Exposure Latitude Dmax Middle Gray Dmin I I

4 KODAK TRI-X Reversal Film 7266 • H-1-7266tSpectral Sensitivity CurveSpectral Sensitivity Curve—These curves depict the sensitivity of this film to t

KODAK TRI-X Reversal Film 7266 • H-1-7266t 5MORE INFORMATIONOutside the United States and Canada, please contact your Kodak representative.You can als

Dmax Middle Gray ∆ Dmin Face Window0 +1 Stop + 2 Stops

Optics and CinematographyPart of the magic of film is that it simplifies visual experience. This is particularly evident in its inabilityto portray su

Because coherent light is directional, intensity does seem to "fall-off" more quickly than with diffuselight. This characteristic can be us

Notes on Creative Process – Lynn Kirby and Robert Nelson“Taking her inspiration fromobservations of her daily life and surroundings,Kirby focuses o

Creative Use of Diffuse LightFlesh tones and middle values can be rendered with more subtlety and contour under diffuselighting. As a rule, a wider

in light intensity exists. Each stop is actually a doubling of light, so the perceived ratio in measuredunits (electro-volts, foot candles etc.) wo

Location and Motivated LightingRealistic results with artificial lights on location are based on carefully studying locations of the typeyou imitating

Exposure Chart for Tri-X- ReversalTest conducted Spring 1998Bell & Howell 70 DR24 FPS or 1/42 second

Kodak 16mm B & W Camera & Print StocksKODAK PLUS-X Reversal Film 7265 (NEW)A medium-speed, panchromatic black-and-white film suitable for gene

FootcandlesRequired 16 32 64 125 250 500Eastman Reversal B &W Film 7361A black and white reversal film intended for making prints from blac

In Camera Special Effects – Bolex RexSingle-FramingTwo modes are available, “I” and “T.” The “I” or Intermittent mode, takes one, brief exposure ever

Multiple Exposures or Superimposition Multiple Passes. You can make multiple exposures with a Bolex Rex same as you can with Bell &Howell 70 DR

Tips about Composite Images• If both or all of the shots to be combined have objects against a "black" background and thelighted objects wil

Adapting a bellows for close-up workNo extension tubes? Any way of supporting the lens away from the body will allow small scalecinematography. If yo

Bob Nelson: Where Film Ideas Come From“Ideas come from different, unexpected places…If you strain too hard for ideas the filmwill show your lack

Soundtrack ProductionStages and TechniquesJust as one determines locations, subjects, camera positions, lens settings and lighting whencreating intere

This one used two hoops of hand wrappedheavy wire and two rubber bandsHeavy cardboard tubing is strong enough tohold a Rode NT-3 . Optional small bung

In urban locations some typical ones are: traffic, compressor and motor rumbles, fans, transformerhums, HVAC duct rumbling, appliance and lighting buz

• Recording Foreground Sounds. You can tell when you have located a sound with foregroundpotential because it has a variety of tones and rhythmic var

• Recording Middle-Ground Sounds. If you go on a quest to discover interesting sounds and recorda good variety of them, chances arethe majority of th

More Field Recording Suggestions• When recording a location or a background, move away from areas where sustained, low pitchedsounds like motors, hum

Sound Gear Check-ListSony TC-D5M Cassette RecorderPower: 2-D size batteries; High Bias or MetalType IV cassette tape.Disasters: Turn “-20dB pad” OFF;

Radio Shack PZM MicrophonePower: Requires 1 AA battery.Disasters: Available with 1/4” phone plugs incheckout.Tech: Very resistant to wind, but sensiti

1Recording with the Sony MZ-NH900Hi-MD RecorderThe HiMD recorders can record in two formats: the higher-quality HiMDformat or the Standard MD SP forma

2Perform these steps with No Disc in the Recorder:+

Principles of Cinematic ExposuresExposure is a function of two variables: the elapsed Time during the exposure and theIntensity of the light reachin

11Perform these steps with No Disc in the Recorder:4. Set to Advanced Menu Mode Press and hold the Navi/Menu buttonfor 2 seconds until the menu wind

48. Look at the Menu window. The Record Mode should show “MD” and“SP. If the window shows HiMD or LP2, re-do the above steps 5 and6.9. Install a fres

513. Set/Check Mic Sensitivity (Low or HI) Press and hold theNavi/Menu button for 2 seconds until the menu window activates. UseJog Wheel to navigate

615. To start recording, press again on the Pause button. When you areready to stop recording, press on the PAUSE button again. Try to notstop the rec

Key Sound Terms and DefinitionsLoudnessWith many sounds arriving at the ears at once, a top priority of the "mind's ear" is to discern

living room seems much quieter than 60dB of hubbub from local street traffic in the backyard, buteven the “quiet” living room is 50 times louder th

Hertz , the person who refined the study of sound vibrations in time. Hertz used the term frequencyto describe the phenomenon of certain rates being

Bass Drum Bass GuitarWaveforms, or graphs of each sound displaying the changes in volume over time provide a clearpicture the differ

Julie Dash intersperses background music, location sounds, brief passages of dialog in Daughters of the DuThe location sounds occur in the sections wi

a second, the fundamental frequency is 40 X 5 or about 200 cycles per second. The embeddedhigher pitched tone is vibrating about 18 cycles or at 18 X

If the camera is slowed down from 24 FPS to run at 12 FPS, the exposure time is doubled:1 2 2 1--- X ---

Cassette Tape to 16mm Mag Film (Transfers)Make this audio patch:Mag RecorderMON.CAS2230 EQ1. Check these buttons/switches:16mm Mag Film RecorderMagna

5. Play the foreground sound on the cassette tape. Adjust red "Level" knob on the Tapco 2300so that -3/-5 dB peaks occur on the Mag Film

masking tape along the bottom of the row of white knobs on the equalizer. Starting from oneend, write down the status of every knob in a sequence lik

16. A big time saver when you are sound editing on a 4 or 6 plate is to take-up each of yourtransferred segments on separate cores (2" or 3"

SoundSourceProblem Equalization SuggestionUrban DayExteriorDominant drone-like low tonethat is too loudTry all the sliders between 120 and 500Hz todet

27. Press the "Ready" and "Record" buttons on the Mag Film Recorder Amplifier.28. Place the cassette with the middle-ground soun

34. Start the Mag Recorder rolling by placing the transport knob into "FORWARD." Let the MagRecorder run until you have plenty of material

Transferring Edited 16mm Mag Tracks to LOGIC The Picture Roll and all Three Mag Rolls need to be leadered like this:Make this audio patch:MAG 1 TRANSF

Using your Own Computer for Final MixingFor your final BEII project, you are required to cut three tracks of Mag sound (background, middle-ground and

7. Connect the FireWire (FW) drive to a FireWire jack on the Mac (front or back). Notethat one side of FW connectors is slightly curved. Make sure th

light intensity of one Stop. With each Stop, the intensity of the light changes by a factor of2. . Depending on the direction the aperture ring is

Creating and Organizing Your Logic Session FolderSound files need to be stored where you can find them. Most computer programs are designed toautomat

Selecting File Creation Type13. The doc you just named, “YrLastName_Mag_Transfers” is a session doc for the application,LOGIC, double click on it to

Note: If you do not find the AudioPhile driver listed after “Driver,” select it from the pull-down window. Any time you change the driver, you need to

NOTE: If you get a prompt after clicking on SET above a driver not being available, its likely youhave not set the driver correctly or did not save an

select, “o”. Make sure the input levels on all of the channels are set to “0.0” (To reset an inputslider to “0.0,” hold down on the Option key and c

If No Audio Comes ThroughA) Make sure the patch cables connected correctly (see start of this section). Make sure the FostexMonitor Speaker is on and

25. After you have established a record level setting, adjust the monitor speaker volume to acomfortable listening level. Rewind Mag 1 at least 3 feet

32. Play through Mag 2 adjusting the Deck’s Reproduce knob (Playback Level) so that the loudestmoment goes to the top of the scale WITHOUT causing Ove

Saving Your Transfer Session DocWhen you saved your Logic Sesson, it automatically created a back-up in folder named, “YrName__Mag_Transfer.bak” that

3. Use the Vertical and Horizontal Enlarge and Reduce buttons in the top right hand corner of theArrange Window to show the top three Tra

Working with Known Light IntensitiesAt a distance of 93,000,000 miles, the sun produces a steady field of light through whichearth passes. The amount

4. Use the Enlargement Button to “zoom” into the head of all three Transfer Files:You should be able to see the “beep” frames that correspond with the

6. With a little practice, you can line-up all three, one frame, EDIT SYNC Beep Frames veryaccurately.7. To listen to a rough mix, OPTION Click once

Logic Audio –Basic Mixing TechniquesThis tutorial assumes you have transferred 3 monaural sound files from edited, 16mm mag film withforeground, middl

5. Carefully connect the FireWire (FW) drive to a FireWire jack on the Mac aligning thecurved side when you insert a cable.Starting the Computer6. Tu

Note: If you do not find the AudioPhile driver listed after “Driver,” select it from the pull-down window. Any time you change the driver, you need to

14. Look at all of the Input channels and the master output channel on the Mixer. Are all of thesliders set at the 0.0dB position? If not, Option-Cick

Setting Mix Reference Level16. Now that sound is passing through, take a look at the Meter for Master Output 1-2 at the farright of the Mixer Window.1

20. Press the space bar to start the section playing in Loop Mode. Look at the maximum peak in theTrack 1 meter: Let’s say the playback level extended

Automating Track Playback VolumeVolume Automation ShortcutsTurn On Hyper DrawVolumeClick one region or lasso a few regions or All w/Apple-A + F1.Creat

26. Click “S” in Track 3 Mixer to place the Background track in Solo mode too. Click in Track 3area under the spot where the loop begins to create a v

Exposure Index. The manufacturers assigned a film stock a number relating to the exposuretime necessary to create a good image under Bright Direct Su

28. To keep these settings for the whole passage, Click again at the end of the passage ineach track and drag to match the setting at the start.29. Se

The Next step is to adjust the relative volume for the loudest scenes in decreasing order.30. Zoom-in at the start of the loudest passage in your soun

Or possibly with a little softer middle so the rise towards the end will seem even greater andmore dramatic:32. At the end of the loud passage, perhap

Of course, the backgrounds and middle ground sounds also have to be set for the louderpassages as well.33. Another common need is to lower the volume

Automating the Volume for the Beep TonesThe beep tones at the “2” of the Academy leader and at the Edit Sync will be needed tosynchronize the copy of

37. Store the duplicate in the back-up folder. (Note you can sort the files by preference of datecreated if needed to determine the most recent etc.)

39. Click once on the “Bounce” button by the Master Output Track:40. In the window that opens up, make sure the below selections are made. Click on BO

Transferring Your Digital Mix to 16mm Mag FilmMake this audio patch:1. Check these buttons on the16mm Mag Recorder Amplifier:Black Power Switch OnPres

For Mac compatibility:Mac systems need to be set to output .AIFF or SDII (Sound Designer II).Transporting Mac Generated Media to UWM:It is recommended

Note: If you do not find the AudioPhile driver listed after “Driver,” select it from the pull-down window. Any time you change the driver, you need to

Answer: .200 /2 = 100. 100~110.5. For every step that you divided the larger number by two, close-down the lensaperture one full Stop-- counting fr

Retransferring the Mix to 16mm Mag Film13. Option-Click on the Output slider for Track 4 (or the track your Mix is on) so that it’s set to“0.0”dB. Sel

15. In solo mode with output levels set to unity (0.0dB), the record level in the MAG Deck VU metershould go to –3 dB at the loudest moment in your Mi

Designing Interview QuestionsNote: The following suggestions apply to the program style where the interviewer'svoice will not be included in the

Glossary of Image, Sound& Other Useful TermsAcceleration When an object or camera movement appears to be changing speed-- speeding-up orslowing d

Low Angle Achieved when the lens of the camera is lower than the eyes of thesubject. Lends a shot a sense of mild to significant inferiority depend

Decibel A unit used in measuring the relative loudnesses between two sounds.Diagetic (On-Screen) Sound Sound elements that the viewer can associate w

audibility within the volumes of the other elements; one that "fades-out" sinks toinaudibility within the existing volumes.Fade In image pro

Grain The visual texture of the projected image that can be attributed to the size of the lightabsorbing particles of the filmstock. This texture cha

Mixing The process of combining several sound elements often from different tracks duringre-recording. The "space" of the soundtrack is ach

Post-Production The phase of making a film or videotape when the logging, editscripting, editing, sound-cutting and sound-mixing is done.Program A r