Thank you so much everybody for your support and information! This really is a nice start on my journey to film experimentation and films! I really do appreciate it! I'll be sure to branch out to other brands and not just Bolex. This is awesome! Thank you again! -Adrian Date: Wed, 28 Aug 2013 14:08:57 -0400 From: [email protected] To: [email protected] Subject: Re: [Frameworks] Need Bolex Camera Information
Hey Adrian, Congrats on your initiative. I recommend continuing with your efforts to get yourself set up if you are interested in 16mm coming to your school, and just have some organized plan for outreach. Get the help of other folks who are interested. If you have to pitch this to someone to get money for the equipment, play up the relevance of the Bolex as a tool, and avoid the whole "vintage" thing. They are working instruments, and aside from being beautiful, they can do things that no other film camera can, let alone a digital one, which will probably be the main argument against your project (film vs digital). Regarding the gear, I agree with the other response to your thread, go slow and make sure you get what you need, without going too gear crazy. I have to say that I do think that the Bolex offers the most quality and features for the money. There are other slightly more durable cameras (the Arri 16S series for example). But a Bolex runs under a huge breadth of weather conditions, and boasts legendary build & image quality. I'd consider Andrew Alden as a resource. He's not as local as Joel is (previously mentioned). Andrew is in England. BUT, he has a site through which he sells Bolex rigs, and through which you may contact him. He's super helpful. I've known him for about six years, and he has explained more to me about Bolex mechanics than anyone else I've ever known. He also has a self-published manual / Bolex guide called the Bolex Bible in circulation. If you want to know everything about the camera, Kern lenses, Bolex accessories and the many applications of Bolex cameras, that book is potentially helpful. Look for older film books that profile the application of Bolex filming and of 16mm in general. These may seem old and a little dense but they treat the cameras seriously and explain the advantages of on system vs another, as well as lighting and exposure basics. Lenny Lipton's INDEPENDENT FILMMAKING, Kris Malkiewicz's CINEMATOGRAPHY, older editions of Edward Pincus's THE FILMMAKING HANDBOOK. These can all be found for almost nothing used. I also second the recommendation of Helen Hill's RECIPES FIOR DISASTER as being a great guide for self-applied 16mm work. Know too that a significant cost of having film cameras is servicing / maintaining them. You can probably find a few decent Bolexes for in the hundreds of dollars, maybe even less. But it's likely that they will need some attention. Depending on the condition of the camera, this will range from $250 and up, especially if parts need to be replaced. ProCam USA in AZ is a factory-approved facility for getting a Bolex fixed. They probably do the best work in North America, in that their technician Dieter is really excellent and that they have a huge stock of parts. Bernie O'Doherty of Super 16 Inc in NY state is also a great tech that may come a bit less expensive and will help you get the most from your camera without rebuilding the whole thing. I'm getting into detail on this because a Bolex will really serve you and the members of your filmmaking group well, but only if it's maintained. There's no way around this. And it's even more important because many people will be using it, and a shared camera always needs more work. Many schools have someone around who can work on these cameras, and until that happens at your institution, you'll have to have someone else work on it. Look into Kodak's educational program for film. Research film labs too, and see if there is one that will working with you on processing charges and shipping for student work. Pick a lab that likes working with schools. Projectors, the Bolex, and light meters might be found on eBay. But again, quality and maintenance have to be considered when planning to buy this stuff. Go slow, and make friends with as many people who are into this stuff and who know where there may be deals. Contact other schools to see if they have resources for finding cheap stuff. TV stations, yard sales, Craigslist, and Frameworks, of course. Sorry for the length here but you're venturing into a huge new world, and it seems like you'll be the sole investigator for a bit. Feel free to contact me off list if you need any more information. There is just so much that comes with wanting to shoot film, it can be overwhelming. Best of luck, Isaac 617-460-4165 On Wed, Aug 28, 2013 at 12:20 PM, Ekrem Serdar <[email protected]> wrote: Hey Adrian, First of all, kudos to you for your attempts. Austin needs a dedicated ag film program. Second, you may be aware that we've been doing screenings of experimental work, almost always in it's original format (digital, Super 8, 16, 35). If you haven't been, you should come out to our screenings and say hey! : ercatx.org Regarding Bolex info: there's tons all over the web. bolexcollector.com has a bunch of information regarding serial numbers, differences between models, etc. Filmmaker Joel Schlemowitz (who we'll be hosting at Farewell Books on Sept. 7th) has a great site detailing the ins and outs of its operation: https://sites.google.com/site/joelschlemowitz/bolex Prices to getting one... depends. Ebay obviously, but I also see them on craigslist from time to time, including some in Austin that were cheaper than what I'd expect (depending on how good of shape it's in). I think UT still teaches a couple classes on 16mm; the UT Art Store still has some 16mm film stock, and materials too. And obviously, remember that you don't need a camera to make a film. Also... while the Bolex is a very nice, sturdy machine that gives you a good amount of control, that shouldn't stop you from looking into other kinds of cameras too. While it seems to be the official camera of the avant-garde, don't let fetish get in the way of making things. The bolex works good for me, but I've always been curious about other machines... If you want to work with film, why not start with Super 8, or for that matter, no camera at all? You can some film material from the UT Art-Coop and you can try out a couple things from Helen Hill's Recipes for Disaster (pdf link). Then all you need is a projector. Hell, even those crappy, over-priced lomo-kino cameras will give you a sense of the discipline that comes with working with film, which is one of it's more important pedagogical qualities. Not sure if this is what you're looking for, but I hope it's a start! Feel free to get in touch off list. On Wed, Aug 28, 2013 at 10:29 AM, Adrian Yepez <[email protected]> wrote: Hello, My name is Adrian. I live in Austin, TX and I'm currently a student at my community college, Austin Community College (or ACC), and I need some help as to where a good starting point would be when it comes to researching Bolex cameras. Yesterday I pitched an idea to my two RTF professors about starting up a club that's involved in investing in vintage film equipment for the RTF students at ACC to have access to and start up an experimental film portion of the RTF program. One professor absolutely loved the idea of having that aspect as part of the RTF Program and deeply encouraged me to actually make this club happen. But on the other hand my other professor gave me the harsh realities as to why that would never work. Unfortunately I won't go into detail as to why that wouldn't work, but I left his office with my head pointed to the sky because I believe it can actually work. I mean why not right? My goal is learn to how to use and know as much information about old Bolex cameras. I want film to still be alive and used by students, regardless if they're from a community college or not, to not only have on their résumé but as an amazing experience as well. A student that diversifies themselves by having the experience of both worlds would truly give them a wider perspective in the film industry. So Im reaching out to anybody that is willing to give me a good starting point I would most appreciate it! Please anybody! Thank you. -Adrian SAVE FILM! SAVE THE PAST! PROTECT THE VINTAGE CRAFT! 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