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Bolex Film
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The Roman philosopher Cicero said, "To know nothing of the world before you were born is to remain forever a child." This is true in any field of interest and, generally speaking, most iPod and digital camera buyers probably don't know a whole lot about the analog precursors to their high-tech tools. That's a shame, because the story of how we all got from "there" (bakelite phones, wire recorders and record players in the '50s) to "here" (iPhones, digital recorders and mp3 files).

In the case of cameras, just a quick look at the story of Bolex is most educational. The fact is, filmmakers are still using the wind-up, low-tech Bolex cameras over 80 years after the company was founded, with cameras from 50- to 70-years-old being the "sweet spot" for working collectibles. The film exposed in these units can be digitized and edited on computer workstations like any other digital footage, but it has the deep color from the film and the optical beauty of the Hugo Meyer and Zeiss lenses. The past and present meet, to be sure, with a Bolex.

Founded in 1927, Bolex International is a Swiss manufacturer of 8mm and 16mm motion picture cameras and, with such partners as Hugo Meyer in the early days and Zeiss today, high-quality lenses, as well. Their famous products were essential ingredients in the growth of early television news coverage and were also an immediate hit with makers of documentaries, nature and sports films, avant garde projects and animated features.

While a few later models are electric-powered, most made since the 1930s use a spring-wound clockwork drive. The introduction of the Bolex H-16 in 1935, which can be easily converted to Super 16mm, solidified the firm's reputation for high-end engineering and optics. The cameras are so well designed and built that original features of the H-16 are present, with few significant changes, in the models now being made. There are many 50- to 75-year-old Bolex cameras still in use today.

There are many lovingly maintained Bolex cameras for sale from collectors and specialty dealers if you do not want to buy a new one (they are expensive). Used models will save you some money, but don't expect a bargain basement price on any Bolex that has been well maintained.

If you want an H-16 you should avoid early models with the antiquated double-sprocket drive, as they require double-perforated 16mm film that is nearly impossible to find. Post-1952 H16 models with serial numbers higher than 76471 use modern single-perforated film. Finally, if you will be using big, heavy lenses you may want the bayonet mount featured in more recent versions of the H-16.

Filmmakers who have settled on some other "look" will use whatever tools "get them where they want to go." For many today, that means using state-of-the-art digital cameras from Red, Sony, Canon and many others. Great effort has been put into getting the rich, saturated look of film through filters, camera settings and (of course) post-production processes. But there remains a group of dedicated auteurs that insist on using a Bolex or other oldie-but-goodie, even if they do convert the film to a digital file for editing and final production. The film world, and ours, is all the richer for their efforts.

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Paul Winkler

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Paul Winkler
Born
22 June 1939Hamburg, Germany
Occupation
Filmmaker
Nationality
Australian
Genres
Film, Experimental Film, Avant-garde Film
Paul Winkler is an internationally renowned filmmaker who lives and works in Sydney, Australia. Together with Corinne and Arthur Cantrill, Albie Thoms and David Perry, Winkler for many years was among the nucleus of the once thriving Australian experimental filmmaker scene.
Born 22 June 1939 in Hamburg, Germany Winkler underwent a bricklaying apprenticeship before he relocated to Australia in 1959. His self education in film and film history began in 1962 when he also commenced filmmaking, initially working in 8mm on Bell & Howell and Canon cameras. In 1967 he switched to 16mm and a Bolex camera which he used ever since.
Winkler approach to filmmaking is primarily an organic one. His films are a synthesis of the intellect and emotion all filtered through the plastic material of film, balancing delicately between form and content. try to let imagines flow freely to the surface (Winkler).
These magines often depict iconic aspects of Australia like Bondi Beach, Ayers Rock/Uluru and the Sydney Harbour Bridge. Sometimes they take a look at her textures as in Bark/Rind, Green Canopy, and the Bush. As early as 1973 Winkler sided with the Aboriginal Land Right Claims in Dark, conceived at a time of particular spirituality in his work as in Chants and Red Church. Recently, he tends to deal more with modern Australian society like in Rotation, Time out for Sport and Long Shadows. There is even the odd reminiscence to his apprenticeship as in Brickwall, Backyard and Brick and Tile.
The images in his films are clearly marked by the use of devices to create them. Winkler may briefly show the unaltered image in the beginning of a film. But inevitably processing will occur, and Winkler "low-tech invention pushes the possibilities of comparatively simple mechanics and long-known camera devices to their outer limits and beyond". Mostly, these are still and moving mattes and the optical printer but also some inventions of his own. They always result in refreshingly new images full of sensual impressions.
In 1995, the Museum of Contemporary Art and Sydney Intermedia Network honoured Winkler with a retrospective screening of a total of 30 of his films. The following year, Harvard Film Archive at the Carpenter Centre for the Visual Arts, Harvard University Cambridge, Boston USA screened 30 films in a three-day retrospective.
The Museum of Modern Art in New York holds 15 of his films in their collection. Prints are also available from Canadian Filmmakers Distribution Centre in Toronto , Canada, the New York Filmmakers Coop, Light Cone in Paris, Red Avocado Films in Germany, the National Film+Sound Archive in Canberra, Australia and other outlets the world over.
His first DVD entitled Australian Icons contains Ayers Rock, Bondi, Rotation, Sydney Harbour Bridge and Time out for Sport along with a portrait documentary entitled ? Paul Winkler.
Films in 16 mm
Many Buddhas (2008)
Popkitsch (2006)
Fischtank (20004)
Turmoil (2000)
Rotation (1998)
Capillary Action (1997)
Time out for Sport (1996)
Green Canopy (1994)
Elevated Shores (1993)
Long Shadows (1991)
Glitter (1990)
Faint Echos (1988)
Facades (1987)
Australian Bush (1986)
Incongruous (1984)
Brick and Tile (1983)
Traces (1982)
Ayers Rock (1981)
Urban Spaces (1980)
Sydney-Bush (1980)
Taylor Square (1980)
Cars (1979)
Bondi (1979)
Window (1978/79)
Sydney Harbour Bridge (1977)
Bark-Rind (1977)
Red Church (1976)
Backyard (1976)
Brickwall (1975)
Chants (1974/75)
Dark (1973/74)
Scars (1970/71)
Neurosis (1970)
Requiem No.1 (1969)
Red and Green (1968)
Isolated (1967)
Awards
Turmoil --- Finalist - Dendy Awards, Sydney Film Festival 2000
Rotation --- Directors Choice Award, Black Maria Film & Video Festival, Jersey City, USA 2000 & Best Experimental Film, Melbourne Film Festival 1999 & Finalist, Dendy Award, Sydney Film Festival 1998 & Honorable Mention, Ann Arbor Film Festival, USA 1999
Capillary Action --- Directors Choice Award, Black Maria Film & Video Festival, Jersey City, USA 2000 & Finalist - Dendy Award, Sydney Film Festival 1998
Time out for Sport --- Best Editing, Ann Arbor Film Festival, USA 1996 & Finalist - Dendy Awards Sydney Film Festival 1996
Long Shadows --- Erwin Rado Award, Best Australian Short Film, Melbourne Film Festival 1992
Brick & Tile --- Best Experimental Film, Australian Film Institute Awards 1984
Traces --- Silver Boomerang, Melbourne Film Festival 1983 & Honorable...(and so on) To get More information , you can visit some products about supply mosaic tile, anti slip tile, . The Degreaser Cleaner products should be show more here!

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vintage video cameras?

can anyone inform me a little bit on vintage video cameras ones like lets say a 16mm Bolex.
what are the easiests ones to use and find for the best price? what accesories would be required? and how would i edit film for it and view the film? thank you! and help is greatly appreciated

for one, these are not video cameras. they are not electronic. the 16mm bolex uses motion picture film. there is no point to buying one cheap, since they will burn through $1000 worth of film and processing per hour compared to $3 for miniDV. do be cautious buying a cheap used one, as some on the market were used by television stations in the 70s and 80s do not have color lenses and run at 30 fps. also regular 16mm is not widescreen, it is basically newsreel grade quality. if you want to make hollywood pictures, you need to shoot super 16 or find anamorphic (cinemascope) lenses. widescreen really requires 35mm or larger film stock, most panavision is done with 65mm film.

you need a dark room, projector and viewing screen to watch after having the film processed. simple editing is done with razor blades and splicing tape. this is not non-destructive method so chose wisely before making cuts. if you do a lot of editing, you will want an editing viewer and splicing block. modern editing is usually done by making a videotape version of the rough film clips, and creating an EDL (edit decision list) on a computer. This works better if you use timecode on the film. The EDL is sent to the film editor who then makes the cuts. If you want sound, then that has to be edited too and conformed with the final theatrical print by re-recording. unlike miniDV which give you free uncompressed stereo digital sound, films are shot silent.

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By Annette Hinkle At the tender age of 15, Joe Lauro’s older sister took him to the Fillmore East, Bill Graham’s concert venue in the East Village, thereby initiating him into the world of rock and roll. “The first concert I saw was The Grateful Dead and Country Joe and the Fish,” recalls Lauro. “The show started [...]

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