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Canon 6D Gear Guide

2015-02-26T00:39:18Z

Galloa: /* INTRODUCTION */

=INTRODUCTION=

The Canon EOS 6D is the world's smallest and lightest full-frame DSLR. It features a 20.2 Megapixel Full-Frame CMOS sensor, a wide ISO range of 100-25600 for incredible image quality even in low light, and a DIGIC 5+ Image Processor delivers enhanced noise reduction and exceptional processing speed. A new 11-point AF including a high-precision center cross-type AF point with EV -3 sensitivity allows focusing in extreme low-light conditions, and with continuous shooting up to 4.5 fps, you are ready to capture fast action. Full HD video with manual exposure control, multiple frame rates, and the benefits of a Full-Frame sensor provides stunning performance and creative flexibility.

APS has two complete Canon 6D kits that are setup for utilizing the advanced video functions of the camera.
Each kit includes:
* a shoulder mount rig with follow focus and viewfinder.
* 1x f/1.5 24mm lens
* 1x 35mm lens
*1x 85mm cine lenses with geared aperture and focus rings.
* 1x 2 variable Neutral Density Filters to allow for using slow shutter speeds and wider apertures in brightly lit areas.
* 1x 2 batteries and a plug in power supply for the camera. 
 
'''APS''' also has lighting kits available for checkout which can be found here [http://blogs.evergreen.edu/medialoan/aps/aps-catalog/aps-lights/ APS Lighting Kits] 

Canon has some great tutorial videos on the [http://learn.usa.canon.com/galleries/galleries/tutorials/eos_6d_tutorials.shtml Canon] website.

[http://www.evergreen.edu//medialoan/docs/aps-docs/canon6dmanual.pdf Complete Manual for the Canon 6D]
==CARING FOR THE CANON 6D==
APS has a very limited number of Canon 6D cameras. We appreciate your help in caring for this item to insure its long-term use at Evergreen.

'''DO NOT''': Drop this camera Point camera toward Sun. Submerge this camera in water Leave this camera near a strong magnetic field! Leave this camera in excessive heat, such as a car Store this camera in excessive heat or cold Use a blow dryer to blow dust from the camera Store this camera in a location where there may be corrosive chemicals Use excessive physical force Please be gentle with this camera; it looks hardy, but it's delicate!
==Front Controls==
===Depth-of-Field Preview button===
Press this button to preview what will actually be in focus. The viewfinder will probably get much darker when you do. You can program this button to do other things in the C.Fn. menu.
===Lens release button===
To remove a lens, press the lens release button and twist the body of the lens until the red dot is on top. Now pull the lens straight out. To attach a lens, line-up the lens' red dot to the red dot on the front of the top of the lens mount, push it straight in, and twist so the red dot is as shown above. You'll hear a click, and your lens is locked-in.
==Top Controls==
Most of these adjustments can also be made with even more detail in the MENUs or with the QUICK [ Q ] CONTROL SCREEN. The power switch is on top, a new place not familiar to old-time Canon shooters.
===Exposure Mode (Top left knob)===
====Program Exposure Mode====
In this mode, the 6D picks the perfect combination of aperture and shutter speed all by itself, and if you want to change them, all you need to do is move the front dial, and the 6D magically selects different combinations that still give the same exposure. In Program, also called Professional, mode, there's no need for other modes since turning the top front dial gets you right to whatever other aperture or shutter speed you might want with a minimum of fuss. Some of the menu options explained throughout this guide are deactivated in anything other than the P, Tv and Av modes.
===Top Front Dial===
The top, or front, dial sets many things. While shooting, it alters the exposure program (in P) or the aperture (Av mode), or the shutter speed (M or Tv modes). While playing, it usually jumps ahead or behind by 10 frames. You can set this in the playback menu. While zoomed in playback, it changes the zoom magnification.
===AF MODE===
The Lenses in the APS VIDEO KIT are manual lenses and '''DO NOT''' work with Auto Focus, but the general access lenses will. The AF system is easy, and well-set right out of the box. With most lenses, hold the camera's AF-ON button to lock autofocus after it's focused the first time. These setting apply only to real (through the viewfinder) shooting. For movies or Live View (image seen on the rear screen while shooting) settings, see the Live View Menu.
====Auto/Manual Focus Switch====
You select between autofocus and manual focus with this switch on your lens. They're always in this same spot, regardless of the lens. It falls right under your thumb while shooting.
====Autofocus Mode Button====
To set the various autofocus modes, press the AF button on the top, and turn the top dial.
The settings are:
=====ONE SHOT=====
In ONE SHOT, the AF system focuses once, then locks so you can recompose if needed. Use this for photos of things that hold still
=====AI FOCUS=====
AI FOCUS automatically selects between ONE SHOT and AI SERVO. In AI FOCUS, the 6D looks at the subject, and if it holds still, locks focus as if it was set to ONE SHOT, and it it's moving, tracks it, as if it was set to AI SERVO. Use AI FOCUS most of the time, since it automatically selects what it needs to do.
=====AI SERVO=====
In AI SERVO, the 6D continuously tracks the subject. The AF system is always focusing in and out as the subject moves around. Use AI SERVO for sports or action shots of anything that's moving.
====AF-ON Button====
The AF-ON button can do different things, selected in the C.Fn. menu. Even in its default setting, it will focus the lens when pressed, but here's the clever part: if the focus has locked without using the AF-ON button, when you press and hold AF-ON it works as an AF lock, holding focus for you while you recompose or do whatever else is needed.
====AF-Area Mode Button====
The AF-Area mode button, marked as [-|-], lets us select which of the 6D's 9 AF sensors are used, or set the 6D to use them all automatically. To select them, press the top right rear [-|-] button, and then make your selection with the Master Controls, and the top dial if you like. You can see the selection through the finder, or on the rear or top LCDs. Each works a little differently, but all make the same adjustments. If you make a selection that lights all the sensors (or reads "[ ] AF" on the top or finder LCD) then the 6D will select what sensors to use all by itself, usually the ones with the closest part of the subject under them. Letting the 6D pick (all lit) is helpful, and especially when you hand your 6D to a stranger to take your picture. The thumb controller has 9 positions, so you usually can select any AF point in just one push. You also can spin both of the dials to move your selection around. The center sensor is more sensitive than the others in dim light. If the other sensors aren't doing well in dim light, choose the center sensor and you'll be much happier.
====AF Micro adjustment====
Don't touch this. It's in the C.Fn. II Menu. If you have to ask how to set it, then you'll probably make it worse if you fiddle with this. If you insist on playing with it, know that only about one lens in twenty needs any adjustment, and the results are only visible at very large apertures and only under certain conditions. When you do set it, the 6D is smart enough to recall different settings for different lenses as you set them, automatically. It's often even smart enough to recognize different samples of the same lens, and it can be set for both ends of zoom lenses individually. When setting it, use natural targets like trees. Do not use tilted flat targets, since the actual location of the AF sensors is never really exactly where they are marked in the finder. To set it, you need to make many, many test shots to arrive at a setting. Every shot varies a little from shot to shot; no AF system gives the same result for each shot. Make at least 5 shots at every distance, and try every distance, since the settings can vary by distance. It's marked a in units of ±20. Numbers marked - (towards the camera icon), moves the real focus closer to us, while the + numbers (towards the mountain icon) pushes it further away.

===DRIVE===
DRIVE sets whether the 6D shoots continuously or not, and sets the self timer and remote control options. Press DRIVE and move the top dial. The settings are:
====Rectangle====
One shot at a time. This is best for careful still shots.
====Bearded Rectangle====
Shoots continuously as long as the shutter is held down. This is best for sports and action.
====Rectangle S====
Silent mode, one shot at a time. This is great for shooting where you want to be quiet, it really does quiet the 6D with very little speed penalty.
====Bearded Rectangle S====
Silent mode, shoots continuously as long as the shutter is held down.
====Remote and Clock====
This sets the 10 second self timer. It's also the mode to make your 6D responsive to a wireless remote.
====Remote and Clock 2====
This sets the 2 second self timer. It also makes your 6D responsive to a wireless remote.
===ISO (sensitivity to light)===
ISO, pronounced "eye ess oh," sets the 6D's sensitivity to light. 100 is normal, and 6,400 or higher is much more sensitive for very low light. To adjust these, press ISO and turn the top dial. AUTO ISO can be set in much more detail in the menus. The only thing we set with this button is if we're using AUTO ISO or setting a fixed ISO value.
===Metering===
====Rectangle with dot and circle====
In Evaluative metering, the 6D does all it can to give the best exposures it can. It looks all over the frame, tries to figure out what is your subject, and makes its best evaluation of what the exposure should be.
====Rectangle with circle only====
This is the older PARTIAL metering mode from the 1970s. In Partial, the meter measures mostly from the central area of the finder.
====Rectangle with dot only====
This is SPOT mode from the 1980s. In Spot mode, the meter only measures from the selected AF spot. Spot metering is very difficult to use properly.
====Rectangle only====
This is the AVERAGE mode from the 1960s. In Average mode, the meter takes the entire frame into consideration, without applying any of the clever intelligence it does in EVALUATIVE.
===LCD Dial Light===
This one's easy: tap it and the 6D lights up the top LCD in amber so you can see what you're doing.
==Rear Controls==
===MENU Button===
The MENU button (top left rear) is the key to most of the detailed settings.
===INFO Button===
Press the INFO button (next to the MENU button) with the 6D idle (tap the shutter to wake it from sleep to idle) and you'll see: Data Screen (blue and white text). Here you'll see a big list of random facts and figures. The most useful is telling you the date and time, and how much card memory you have left. If you call up this screen with the INFO button, it doesn't go away. To make this data screen go away, you have to press INFO again.
====Artificial Horizon (two presses)====
This helps you level the 6D.
===Diopter Control===
This is the little wheel above the rubber eyepiece. Turn it until the finder displays become sharp. It can get knocked as you use the 6D, so if your finder gets blurry, readjust it.
===Movies and Live View===
====Live View====
For Live View (seeing the picture on the rear LCD screen before you take it), turn the lever as shown to the silver camera-rear (Live View) icon. Press START/STOP to start and stop the rear display. Live View uses a lot of battery power, so I never use it. It's mostly a feature for people used to point-and-shoot cameras or iPhones.
====Movies====
To shoot movies, turn the lever down to the movie camera icon, and the rear screen lights up with your live image. Press START/STOP to start and stop the recording of your movie. For movies, you have to see the image on the rear screen to see what you're doing; you can't shoot them while looking through the optical finder. Turn the lever back to the silver camera icon to stop the rear screen display and return to still shots. You set the resolution and a host of more things in the MOVIE menu, which only appears when this lever is set to MOVIES.
===AF-ON Button===
The AF-ON button can do different things, as programmed in the menus. See Canon AF Settings for more.
===Exposure-Lock (AEL or *) Button===
The AE Lock button, curiously only marked as an asterisk (*), locks exposure. Once pressed, you'll also see an asterisk in your finder to let you know you've locked exposure. Hitting it again won't unlock the exposure; it simply relocks it again to a new value. There's no easy way to unlock this other than by taking the picture, changing the exposure mode, or letting the camera go to sleep.
===AF-Area Mode Button===
The AF-Area mode button, marked as [-|-], lets us select which of the 6D's 9 AF sensors are used, or set the 6D to use them all automatically.
===Magnification Button===
The magnification button, marked as a blue magnifying glass, lets you magnify or reduce the image(s) seen on the rear LCD screen. During playback, press the button and use the top dial to control how far you zoom in. Turned the other way, the top dial also lets you see many smaller images on the screen at once. It also works during Live View and Movie shooting. during Live View and Movie shooting, press the button a few times to cycle among the various magnifications.
===Play Button===
You know what the play button does. It also brings an image back to full-screen if it's been zoomed-in.
===The Quick Control [Q] Button===
The Quick Control [Q] button is one of the most useful buttons on the 6D, besides the shutter button. Press the [Q] and a screen loaded with settings appears. To change these settings once you get this screen, use the Master Controls to drive around, and the dial to change the setting. If you need more details about what you're setting, press the SET button again. There's no need to press OK or DONE or EXIT. The instant you've changed something, it's done. You can read and set apertures and shutter speeds on this screen, but in manual exposure mode, there is no indication for the correct exposure. For manual exposure, look at the bar graph in the finder or on the old top LCD. If you tap the INFO button, you'll call up the very similar INFO screen, which does drive the bar graph to let you set read manual exposure, but you'll have to set the shutter and aperture with the dials, not from the screen.
===Master Controls===
These master controls are what we use to juggle all the other settings. The SET button can be programmed in the menus, and makes the 6D do whatever you just set it to do. It also selects the center or all AF points when you're setting the AF-area modes. Around the SET button is a directional control ring. It works in four directions when playing in the menus, and during zoomed playback, lets you scroll around in eight directions. Around the directional controller is the big rear dial. It can be used to control many things. During shooting, the big rear dial is very important as it changes exposure compensation. During menus and playback the big rear dial also does a lot; try it and see. During manual exposure, it also sets the aperture. The LOCK switch only prevents the rear dial from changing the exposure compensation (or aperture in manual exposure). It doesn't lock anything else, or any other functions (like menu or playback control) of the rear dial. We can change what the LOCK switch does in the C.Fn. menu.
===Delete Button===
This is for deleting pictures. Press it, and use the master controls above to select ERASE and then press SET to delete the picture you're playing.
===C1 and C2 Camera Memories===
Set these before you go out, and everything you'll need will be right at your fingertips all day or forever. Each time you turn the dial to C1 or C2, everything is reset to what was stored in that position. Feel free to change any settings as you shoot in C1 or C2. You won't erase what you saved. These changes will stay until the camera times-out, usually one minute (you can change that duration in the menus), and the next time you go to shoot, even if you had changed something, you're back at your saved settings. If you want to return to the saved settings more quickly, just move the dial to any other position and return.
====To Save a Suite of Settings====
To save a complete camera-state setting of your 6D:
# Set the camera as you like below. Everything is saved, from exposure mode, autofocus settings, custom settings, LCD brightness, Picture Controls, white balance fine-tuning and everything.
# Press: MENU > WRENCH •••• > Custom shooting mode (C1, C2) > SET > Register settings > SET > choose the C1 or C2 position > OK > SET.
====To Make a Permanent Change to a Stored Setting====
# To change a stored setting:
# Set the dial to that setting, C1 or C2. This recalls the setting.
# Change something.
# Save the camera's current state back into that dial position: MENU > WRENCH •••• > Custom shooting mode(C1, C2) > SET > Register settings > SET > carefully select the C1 or C2 position > OK > SET.
If you select the wrong C1 or C2, you will have overwritten the settings at that position.
====To Make a Temporary Change to a Stored Setting====
Just change something as you would anywhere else. As soon as you select or re-select a C setting, or as soon as the camera goes to sleep and wakes up again, your originally saved C setting is recalled. The C settings are not altered unless you deliberately save something else into them as described above.
====To Make a Longer Change to a Stored Setting====
Let's not forget the usual P, Tv, Av and M positions. When you change one of them, they stay that way forever. The four of them together (P, Tv, Av and M ) are sort of like an unlocked C setting: every time you come back to them, they are as you left them, but if you change something while in them, they stay that way. If dealing with some weird light that requires odd White Balance settings, you may want to use the P, Tv, Av or M positions, and then if a different opportunity presents itself, flip into one of your C modes, and as soon as you click back into any of P, Tv, Av or M positions, you're where you left off.
====To have these settings update automatically====
Each of these settings remains unchanged until you save a different set of settings to that dial position. New on the 6D is that you can choose to have these settings automatically update as you change the settings, as Nikons do in their settings banks. Set this way (MENU > WRENCH •••• > Custom shooting mode (C1, C2) > SET > Auto update set. > SET > Enable), when you leave one setting, it will be as you left it when you return. This is handy for when you first get the camera as your preferences finalize, but I'd set it back to its default of fixed after you get comfortable. If you enable auto-updating, you'll hate yourself when you twist around all your settings for a one-of shot sometime, and just changed your favorite long-term setting. If you save the same thing to two locations and set "auto update," they both update until you change something in just one of them.

=VIDEO SETTINGS=

There are two VIDEO menus: '''MOVIE •''' and '''MOVIE ••''' 
You get to these by turning the '''Live View''' lever down to the '''MOVIE''' icon, press '''MENU''' and click to the two movie camera icons to the right of the first four '''CAMERA''' icons. 
These settings apply only to VIDEO shooting, and only appear when the 6D is in MOVIE mode. To get to the Live View menu, you do the same thing, but instead move the Live View lever up to the Live View icon, which then replaces these Movie menus with Live View menus. 
These settings apply only to VIDEO shooting. 
==MOVIE •==
===Live View Shoot===
This is set to '''ENABLE''' by default. Set it to '''DISABLE '''if you don't want Live View popping up if you hit the '''LIVE VIEW''' button by accident.
===AF Method===
This set how autofocus works, only while in Movies.
===Silent LV Shoot===
These are different ways to attempt to make the 6D work more quietly as you shoot. Try the different modes if you're curious.
===Metering Timer===
This sets how long the light meter stays on.
==MOVIE ••==
===Grid display===
This allows you to place a rectangular grid over the image on the rear LCD as a help in keeping the camera level.
===Movie Rec. Size===
This is where you set resolution, frame rate and compression scheme. The higher the resolution or frame rate, or if you choose '''ALL-I''', the bigger your files.
===Resolution===
'''1920''' Choose 1920 (1,920 x 1,080) for subjects of nature, landscapes, cityscapes ,wildlife. theatrical release, and theatrical productions. 
'''1280''' Choose 1,280 (1,280 x 720) for sports video. It has smoother motion and is better if you want to convert it to slow motion later. Contrary to what Japanese makers pitch for selling TVs, 1,280/60 has the same resolution, and uses the same amount of data as 1,920/30. This is because 1,280/60 has higher temporal (time or motion resolution), while 1,920/30 has higher spatial (left-right/up-down) resolution instead. 1,280 is better for sports, and 1,920 is better for drama — each has the same total resolution.
===Frame Rates===
'''24''' Choose the [24] options for theatrical release. They are really 23.976 fps. Also choose them for movies that look like movies instead of just video. Another advantage of 23.976 is that it's easy to down-convert it later to NTSC and to PAL, from the same file. 
'''30 and 60''' Choose [30] or [60] for NTSC-based (American, Japan, Korea, etc.) TV release. It's really 29.97 progressive or 59.94 interlaced fps. 
'''50''' Choose 50 for PAL-based (Europe, China, Australia, Russia etc.) TV release. 
===Compression Scheme===
'''IPB''' Choose IPB for normal use. The video looks the same as ALL-I below, and take up much less space. IPB video files take much less space because the video is stored taking advantage of the fact that most frames have a lot of repetition from one frame to the next. IPB is far more efficient than ALL-I because it takes advantage of often storing only the changes from one frame to the next, not needing to save all the data of every frame if parts of it were the same as the frame before. Since movies have frames that are pretty much the same from one instant to the next, IPB is a very efficient way of storing video that looks great. 
'''ALL-I''' Choose ALL-I only when you have huge data storage resources and need excruciating precision in frame-by frame editing for theatrical release. ALL-I is intended for the editing needs of professional tele-production and motion picture production, not for consumer use. ALL-I stores each and every frame individually and in its entirety, even if most of it was the same as the frame before. ALL-I takes no advantage of the fact that most frames are very similar to the frames that came before them. Stored as ALL-I, your file has to save all of every frame, even when the background and 90% of each frame is exactly the same as the frame before it. The only real technical reason for ALL-I is that each frame is separate, so if you need to cut out and use just three frames, that all three frames are available to cut-out and use separately, while in IPB recording, most recorded frames depend to some extent on the frames before and after them to define themselves. Even shot IPB, there are still a few I (individual) frames recorded every second, and editing software recreates the entire video stream from the I, P and B frames before you start to edit.
===Sound Recording===
This is the recording level control. Leave it at AUTO, or you may set it manually. Here you also may select a low-cut (wind) filter, and an attenuator. The low-cut (wind) filter only applies with the built-in microphone.
===Time Code===
This lets you professionals set-up time code to your preferences. You even can set drop frame or NDF.
===Video Snapshot===
This is a corny feature to create a series of video clips of a few seconds each. '''Ignore it.'''
=Wrench Settings=
There are four Wrench menus: '''WRENCH•''', '''WRENCH••''', '''WRENCH•••''', and '''WRENCH••••'''. 
To set them, press '''MENU''' and click left or right to the four orange wrench icons towards the top right of the screen.
==WRENCH •==
===Select folder===
Select Folder is where you select the folder to and from which we'd like to record and play. This menu is also where we can create new folders. New folders might be useful if you shoot two different things on the same card, and want to have them neatly sorted while they're still on the card.
===File numbering===
This lets you keep your files numbered properly. By default ("Continuous"), the 6D keeps counting up. Auto Reset means that the 6D will start back at IMG_0001.jpg each time it gets a clean card on which to shoot. This is potentially a bad idea, since your computer will quickly fill with many files all named IMG_0012.jpg. Manual Reset forces the counter back to IMG_0001.jpg for the next shot.
===Auto rotate===
This sets whether or not the 6D flags your vertical shots, and whether or not the camera will rotate them when it plays them back. The 6D never actually rotates anything, it merely sets flags which are usually, but not always, recognized by most software when the images are displayed.
===Format card===
This lets us format the memory card so we have the lowest possibility of losing images. Always format the card every time it is put it in the camera. Formatting ensures that any potential data corruption is repaired. You can shoot a long time without formatting and never get any errors, but if your files are important to you, regular formatting reduces the risks even further. Formatting also erases all your images on the card, so don't do this until your photos are somewhere else, and backed up in a second location as well. When the card is formatted, it's simply cleared. The old photos aren't actually erased, but the card is programmed to ignore them and record over them cleanly. If for some paranoid reason you want everything wiped off the card, the low-level format option actually does this. If you select this option, the 6D actually writes-over every bit so there is nothing left, period — but it takes a much longer time to do this.
==WRENCH ••==
===Auto Power Off===
This sets how long the camera stays on before shutting itself off automatically.
===LCD brightness===
This sets the LCD brightness. If shooting outdoors in the dark at night, it may help to turn it down below 4, otherwise the LCD is so relatively bright that it tends to make underexposed images look correctly exposed, leading us to make images that are too dark outside at night.
===LCD ON/OFF BTN===
This sets not the when the LCD, but more specifically when the Shooting Info display turns off.
===Quick Control Panel===
Set to its default of Remain on, it stays on even with the shutter pressed; set it to Shutter btn. and it turns off as we're ready to take the picture.
===Date/Time/Zone===
This sets the clock.
===Language===
This sets your language. If it sets to a language you can't understand, the only way to navigate back to this option and identify it is that it also has a cartoon icon of a man talking. Once set other than English, it won't say "Language."
===GPS===
This sets which GPS does what. This is where we turn on the internal GPS, or set the 6D to talk to an external GPS. If we activate the internal GPS, we then are offered its set-up options. Look out, if the internal GPS is ON, batteries can run down faster even left idle.
====Position Update Timing====
This is how often it takes a fix. Set it to a shorter time and it updates more often, but also runs down your battery faster.

==WRENCH •••==
===Video system===
This sets the analog video output to NTSC (Never The Same Color) or PAL (Problems Are Lurking). It should be set according to your country and not need adjustment. Use NTSC in the USA and Japan, and PAL in Europe.
===Feature Guide===
This sets little tips to appear.
====INFO Button Display Options====
This sets what screens come up as you press the INFO button.
===Wi-Fi===
This activates the Wi-Fi connection. It's OFF by default. When ON, you cannot shoot movies or connect via USB.
====Wi-Fi function====
This menu item is only available if Wi-Fi (above) is set to ON. This is where we set what we want the Wi-Fi to do. Play with this one to see what the various options do.
==WRENCH ••••==
===Sensor cleaning===
This sets when the sensor cleans itself. It also lets us make the sensor clean itself now.
===Battery info===
This reads your battery charge to its exact percentage, tells you your battery's health with three green dots (or not), and how many shots this battery has made on this charge so far. If you know algebra, it's easy to predict how many shots are left on this charge and how many total shots you might get on the charge.
===Certification logo display===
This shows some more of the organizations to which Canon has certified that the 6D meets their standards for whatever they're testing.
===Custom Shooting Mode===
This is where you set the C1 and C2 positions of the top mode dial.
===Clear all camera settings===
This is where to reset everything back to their factory settings.
===Copyright information===
Here is where we program our 6D to record all our personal and copyright information into the EXIF data of every file. Follow the menus; it's easier to do than it is to explain.
===Firmware version===
This lets us check our current firmware version, and here is where we update it if needed. 

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2014-10-02T22:05:30Z

Galloa: /* Intoduction */

===Intoduction===
'''[http://www.evergreen.edu/medialoan/aps/docs/aps_BolexH16.pdf Bolex H-16 Reflex Camera Operating Guide PDF]''' 
[[APS Bolex 16mm Reflex Proficiency Test]] 
 
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Proficiency Test

2014-09-08T18:48:31Z

Galloa:

Please read manual and complete written portion of test prior to operational proficiency. Bring answers with you with your name and TESC ID number clearly indicated to workshop or proficiency test.
'''Written Test'''
# List the four steps necessary to set the diopter adjustment.
# How many frames per second is the Bolex capable of shooting? How few?
# What kind of viewing system does the Bolex H16 employ? Describe how it works.
# Explain the difference between Bolex Rx lenses and normal lenses. What is the effect on the shutter speed, and how do you compensate?
# Describe the difference between a bayonet mount and a turret mount camera.
# What is the function of the turret plug?
# List the steps necessary to perform a lap dissolve.
# List the steps necessary to load the camera.
# Describe any precautions you need to take while cleaning and operating the Bolex.
# What is the extent of your financial responsibility in case of loss, or damage to the camera?
 '''Operational Proficiency Test'''
* Identify all of the parts and control of the Bolex H16.
* Set the diopter and place the 85b filter in the camera.
* Set the fps at 24, set the counter at 0.
* Load the film in the camera.
* Demonstrate how to create a lap dissolve.
* Demonstrate extended exposure and animation features.
* Display proper lens mounting to insure appropriate “taking” balance on turret mount camera. Mount lens on bayonet mount camera.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Proficiency Test

2014-09-08T18:48:20Z

Galloa:

Please read manual and complete written portion of test prior to operational proficiency. Bring answers with you with your name and TESC ID number clearly indicated to workshop or proficiency test.
'''Written Test'''
# List the four steps necessary to set the diopter adjustment.
# How many frames per second is the Bolex capable of shooting? How few?
# What kind of viewing system does the Bolex H16 employ? Describe how it works.
# Explain the difference between Bolex Rx lenses and normal lenses. What is the effect on the shutter speed, and how do you compensate?
# Describe the difference between a bayonet mount and a turret mount camera.
# What is the function of the turret plug?
# List the steps necessary to perform a lap dissolve.
# List the steps necessary to load the camera.
# Describe any precautions you need to take while cleaning and operating the Bolex.
# What is the extent of your financial responsibility in case of loss, or damage to the camera?
'''Operational Proficiency Test'''
* Identify all of the parts and control of the Bolex H16.
* Set the diopter and place the 85b filter in the camera.
* Set the fps at 24, set the counter at 0.
* Load the film in the camera.
* Demonstrate how to create a lap dissolve.
* Demonstrate extended exposure and animation features.
* Display proper lens mounting to insure appropriate “taking” balance on turret mount camera. Mount lens on bayonet mount camera.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Proficiency Test

2014-09-08T18:48:05Z

Galloa:

Please read manual and complete written portion of test prior to operational proficiency. Bring answers with you with your name and TESC ID number clearly indicated to workshop or proficiency test.
'''Written Test'''
# List the four steps necessary to set the diopter adjustment.
# How many frames per second is the Bolex capable of shooting? How few?
# What kind of viewing system does the Bolex H16 employ? Describe how it works.
# Explain the difference between Bolex Rx lenses and normal lenses. What is the effect on the shutter speed, and how do you compensate?
# Describe the difference between a bayonet mount and a turret mount camera.
# What is the function of the turret plug?
# List the steps necessary to perform a lap dissolve.
# List the steps necessary to load the camera.
# Describe any precautions you need to take while cleaning and operating the Bolex.
# What is the extent of your financial responsibility in case of loss, or damage to the camera?
'''Operational Proficiency Test'''
* Identify all of the parts and control of the Bolex H16.
* Set the diopter and place the 85b filter in the camera.
* Set the fps at 24, set the counter at 0.
* Load the film in the camera.
* Demonstrate how to create a lap dissolve.
* Demonstrate extended exposure and animation features.
* Display proper lens mounting to insure appropriate “taking” balance on turret mount camera. Mount lens on bayonet mount camera.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Proficiency Test

2014-09-08T18:47:45Z

Galloa:

Please read manual and complete written portion of test prior to operational proficiency. Bring
answers with you with your name and TESC ID number clearly indicated to workshop or proficiency test.
'''Written Test'''
# List the four steps necessary to set the diopter adjustment.
# How many frames per second is the Bolex capable of shooting? How few?
# What kind of viewing system does the Bolex H16 employ? Describe how it works.
# Explain the difference between Bolex Rx lenses and normal lenses. What is the effect on the shutter speed, and how do you compensate?
# Describe the difference between a bayonet mount and a turret mount camera.
# What is the function of the turret plug?
# List the steps necessary to perform a lap dissolve.
# List the steps necessary to load the camera.
# Describe any precautions you need to take while cleaning and operating the Bolex.
# What is the extent of your financial responsibility in case of loss, or damage to the camera?
'''Operational Proficiency Test'''
* Identify all of the parts and control of the Bolex H16.
* Set the diopter and place the 85b filter in the camera.
* Set the fps at 24, set the counter at 0.
* Load the film in the camera.
* Demonstrate how to create a lap dissolve.
* Demonstrate extended exposure and animation features.
* Display proper lens mounting to insure appropriate “taking” balance on turret mount camera. Mount lens on bayonet mount camera.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2014-09-08T18:45:12Z

Galloa: /* Intoduction */

===Intoduction===
[http://www.evergreen.edu/medialoan/aps/docs/aps_BolexH16.pdf Bolex H-16 Reflex Camera Operating Guide PDF]
[[APS Bolex 16mm Reflex Proficiency Test]] 
 
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2014-09-08T18:35:00Z

Galloa: /* Intoduction */

===Intoduction===
[http://www.evergreen.edu/medialoan/aps/docs/aps_BolexH16.pdf Bolex H-16 Reflex Camera Operating Guide PDF]
[APS Bolex 16mm Reflex Proficiency Test]
 
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

Digital Voice Recorders Quick Guide

2014-08-14T19:16:15Z

Galloa:

'''Great for recording conversations and lectures. No proficiency required!'''
OLYMPUS WS100 RDV (MONO, WMA files) - recommended for PC users 
OLYMPUS DS-30 RDO (STEREO, WMA files) - recommended for PC users 
SONY RDS (STEREO, MP3 files) - recommended for Mac users 
Files recorded with the Olympus Digital Recorders can be transcribed using ExpressScribe. [http://www.evergreen.edu/medialoan/docs/audio_olympusdvr.pdf Olympus Recorder with ExpressScribe PDF] 
===Suggested Recording Checklist for all Devices===
*Make a test recording prior to your scheduled interview to make sure you are comfortable using the recorder. Start with fresh batteries.
*Select a controlled and quiet recording location. Avoid noisy public locations (like restaurants, or areas near a road). If possible, eliminate background noises (turn off stereos, TV’s, fans, air circulation vents). A room with carpeting and furniture will typically sound better than one with hard floors (too much echo).
*Check record levels. Improve the quality of the recording by adjusting the mic placement either closer, or further away from the sound source. Wear headphones to monitor volume levels as well watch the volume meters on the recorder. Ideal recordings will have clearly audible audio, while not being too loud so that it is distorted (going into "the red" on the audio recorder meters). What you hear is what you get. Shock mounts and stands are great to reduce mic handling noise.
*Confirm you are recording. Make sure the record light comes on, that the clock numbers are counting and audio levels are moving up and down.
*Tag the recording. Start each recording by stating the date, time, location, your name, and the name of your interviewee for proper archiving and cataloging of this work.
===Steps for Saving Files===
*Copy files from the audio recorder to a computer as you would from a USB drive. Protect the privacy of your recordings by deleting all files on the recorder before returning equipment to Media Loan.
*Backup the original audio files from the recorder to your program network drive. DO NOT USE SPECIAL CHARACTERS IN FILE NAMES (‘!#$*&%).
*When working with files in an audio editing program like Audacity, create a copy of the originals to be able to revert back if necessary.
===Connecting Recorders to a PC/MAC===
*Before connecting one of the PC compatible devices, make sure power switch is OFF and the display is off.
*Then plug it into an open USB port. Computers will recognize the recorder as a removable disk drive.
*Files are saved onto the recorder in WMA format on Olympus recorders (a program which can read WMA files is required) and in lettered folders corresponding to the folder in which you recorded.
*When connected the recorder display will read “PC” When transferring data, the display will read “BUSY”. DO NOT disconnect the recorder when either message is displayed on the screen.
*BEFORE DETACHING FROM COMPUTER - Remove the detachable device (Eject in Mac OS) and make sure the display is turned off.
===Olympus WS100 RDV===
<gallery>
File:WS-100-Head-On.jpg|
File:WS-100-Back-View.jpg|
File:WS-100-Side-View.jpg|
File:WS-100-Top-View.jpg|
</gallery>
====Basic Menu Operations====
Press and hold menu for 1 second or longer while recorder is stopped.
Press FF or REW to browse menu options, and PLAY to select an option or to close the menu hit the STOP button at any point.
====Recording====
# Press the FOLDER button to choose folder
# Press the REC button to start recording
# Press STOP button to stop recording
====Playback====
# Press the FOLDER button to choose folder
# Press the FF or REW to choose the file you want to play
# Press PLAY button to start playback
# Press VOL (+) or VOL (-) button to select proper volume (Between 1-30)
Helpful Tip: To change the playback speed press PLAY to toggle between regular, slow, and fast.
====Erasing Files====
# To erase an individual file press the FOLDER button to choose a folder
# Press the FF or REW button to choose the file you wnt to erase
# Press the ERASE button for less than 3 seconds ‘
# Press the ERASE button again (“DONE” blinks for two seconds and the deletion will be complete)
====Tips====
*When using headphones while recoding or to listen to a recoding, the volume can be adjusted by pressing VOL (- +)
*To Pause press the REC button during recording; PAUSE will appear on the display and the recoding lamp flashes
*If a external microphone is desired, connect to headphone jack. Recommended external mics for this device are omnidirectional sound grabber, lavalier (MOT/MOE)
====Possible Issues====
*If full appears on the screen the device is out of memory. Erase unwanted files to make more room for new recordings.
*If recorder is stopped for 5 minutes, it will go on standby and the display will shut off. Recorder will also stop if left un-paused for 60 seconds. To exit standby mode press any button.

===Olympus DS-30 RDO===
<gallery>
File:DS-30-Head-On.jpg|
File:DS-30-Bottom-View.jpg|
File:DS-30-Side-View.jpg|
File:DS-30-Side-View-Other.jpg|
</gallery>

====Basic Menu Operations====
* Press the MENU button for 1 second or longer to open the menu.
* Menu items can be set during a recording or playback.
* Press the + or – button to scroll through the menu. Press the OK button to change the setting of the selected item. Press the OK button to complete the setup screen.
* If the REW button is pressed, the setting will be canceled and it will return to the menu. Press the STOP button to close the menu.
====Power/Hold====
* Push the POWER/HOLD button up to initiate hold and down to turn recorder on. Push POWER/HOLD button down again to turn recorder off.
* When in hold, all functions will remain as they are set. For example, if hold is on when recording, you cannot stop or pause recording until hold is turned off.
====Recording/Playback====
# Press FOLDER button to select folder to record into. Use the +/- buttons to navigate to different folders.
# Once folder is selected, press the REC button the the right side to start recording .To pause, press REC button again.
# To play the recording back, select file and presss PLAY button the right side of the recorder. This is also where the STOP button is located.
====Recording Modes====
While the recorder is stopped, open the menu. Select “Rec Mode”. Choose from “ST XQ”, “ST HQ”, “HQ”, “SP” and “LP”.
====Erasing Files====
Select file within folder and press the orange ERASE button on the bottom left.
====Tips====
* Mic sensitivity allows you to choose three different settings. Slide the MIC SENSE switch and select “LECTURE”, “CONF.”, “DICT.”. Lecture is the highest recording quality suitable for conferences with large crowds, or recording at a distance. Conference is suitable for meetings with small amount of people. Diction is the lowest recording sensitivity suitable for dictation.
* Voice filter is a function to cut low and high frequency tones during normal, fast, or slow playback, and enables clear audio playback.
* Noise cancel is a setting to use if audio is difficult to understand because of noisy surroundings. Menu options are high, low, and off and can be set while stopped or during playback.

===Sony RDS===
<gallery>
File:Sony-Front-View.jpg|
File:Sony-Back-View.jpg|
File:Sony-Side-View.jpg|
File:Sony-Side-View-Other.jpg|
</gallery>
====Basic Menu Functions====
# Press the MENU/FOLDER button to open folder list.
# Use FF/REW buttons on side to scroll through list.
# Use the PLAY/STOP button on the side to select folder.
* HOLD button is on back of recorder.
** The HOLD button is also the POWER switch. Use it to turn the recorder on and off.
** When in hold, all functions will remain as they are set. For example, if hold is on when recording, you cannot stop or pause.
* Recording modes can be altered by using the mEnu and selecting either LOW or HIGH.
====Recording/Playback====
# Select folder to record into.
# When ready to record, press red circular button on the right side of the recorder.
# To pause recording, press the REC red button once again.
# To play back recoding, hit the STOP button on the side of the recorder which will put you back at the folder. Press the PLAY button to play back recording.
====Erasing Files====
# To erase files, select folder and file. Press the small red circular button on the left side to erase.
# Hold button down for 1 second or longer and file will be deleted.
====Tips====
* DPC: When you slide the DPC (Digital PItch Control) switch to “ON”, you can adjust the playback speed between +200% and -75% of normal speed in the menu. The message is played back in natural tones by this function.
** Slide the DPC switch to ON.
** Press and hold MENU button to enter menu. Use REW/FF buttons to select DPC then press PLAY. Press STOP to exit.
** Slide switch to OFF poition to return to normal playback.
* NOISE CUT: When NOISE CUT switch is set to ON, the distortion of very low frequencies which are outside the human voice range is reduced, therefore you can hear the human voice more clearly. However, when you are using the built in speaker this function is not available.
** Slide the NOISE CUT button to the ON/OFF position.

[[category:Media Loan]]

Digital Voice Recorders Quick Guide

2014-08-14T19:12:06Z

Galloa:

'''Great for recording conversations and lectures. No proficiency required!'''
OLYMPUS WS100 RDV (MONO, WMA files) - recommended for PC users 
OLYMPUS DS-30 RDO (STEREO, WMA files) - recommended for PC users 
SONY RDS (STEREO, MP3 files) - recommended for Mac users 
Files recorded with the Olympus Digital Recorders can be transcribed using ExpressScribe. 
===Suggested Recording Checklist for all Devices===
*Make a test recording prior to your scheduled interview to make sure you are comfortable using the recorder. Start with fresh batteries.
*Select a controlled and quiet recording location. Avoid noisy public locations (like restaurants, or areas near a road). If possible, eliminate background noises (turn off stereos, TV’s, fans, air circulation vents). A room with carpeting and furniture will typically sound better than one with hard floors (too much echo).
*Check record levels. Improve the quality of the recording by adjusting the mic placement either closer, or further away from the sound source. Wear headphones to monitor volume levels as well watch the volume meters on the recorder. Ideal recordings will have clearly audible audio, while not being too loud so that it is distorted (going into "the red" on the audio recorder meters). What you hear is what you get. Shock mounts and stands are great to reduce mic handling noise.
*Confirm you are recording. Make sure the record light comes on, that the clock numbers are counting and audio levels are moving up and down.
*Tag the recording. Start each recording by stating the date, time, location, your name, and the name of your interviewee for proper archiving and cataloging of this work.
===Steps for Saving Files===
*Copy files from the audio recorder to a computer as you would from a USB drive. Protect the privacy of your recordings by deleting all files on the recorder before returning equipment to Media Loan.
*Backup the original audio files from the recorder to your program network drive. DO NOT USE SPECIAL CHARACTERS IN FILE NAMES (‘!#$*&%).
*When working with files in an audio editing program like Audacity, create a copy of the originals to be able to revert back if necessary.
===Connecting Recorders to a PC/MAC===
*Before connecting one of the PC compatible devices, make sure power switch is OFF and the display is off.
*Then plug it into an open USB port. Computers will recognize the recorder as a removable disk drive.
*Files are saved onto the recorder in WMA format on Olympus recorders (a program which can read WMA files is required) and in lettered folders corresponding to the folder in which you recorded.
*When connected the recorder display will read “PC” When transferring data, the display will read “BUSY”. DO NOT disconnect the recorder when either message is displayed on the screen.
*BEFORE DETACHING FROM COMPUTER - Remove the detachable device (Eject in Mac OS) and make sure the display is turned off.
===Olympus WS100 RDV===
<gallery>
File:WS-100-Head-On.jpg|
File:WS-100-Back-View.jpg|
File:WS-100-Side-View.jpg|
File:WS-100-Top-View.jpg|
</gallery>
====Basic Menu Operations====
Press and hold menu for 1 second or longer while recorder is stopped.
Press FF or REW to browse menu options, and PLAY to select an option or to close the menu hit the STOP button at any point.
====Recording====
# Press the FOLDER button to choose folder
# Press the REC button to start recording
# Press STOP button to stop recording
====Playback====
# Press the FOLDER button to choose folder
# Press the FF or REW to choose the file you want to play
# Press PLAY button to start playback
# Press VOL (+) or VOL (-) button to select proper volume (Between 1-30)
Helpful Tip: To change the playback speed press PLAY to toggle between regular, slow, and fast.
====Erasing Files====
# To erase an individual file press the FOLDER button to choose a folder
# Press the FF or REW button to choose the file you wnt to erase
# Press the ERASE button for less than 3 seconds ‘
# Press the ERASE button again (“DONE” blinks for two seconds and the deletion will be complete)
====Tips====
*When using headphones while recoding or to listen to a recoding, the volume can be adjusted by pressing VOL (- +)
*To Pause press the REC button during recording; PAUSE will appear on the display and the recoding lamp flashes
*If a external microphone is desired, connect to headphone jack. Recommended external mics for this device are omnidirectional sound grabber, lavalier (MOT/MOE)
====Possible Issues====
*If full appears on the screen the device is out of memory. Erase unwanted files to make more room for new recordings.
*If recorder is stopped for 5 minutes, it will go on standby and the display will shut off. Recorder will also stop if left un-paused for 60 seconds. To exit standby mode press any button.

===Olympus DS-30 RDO===
<gallery>
File:DS-30-Head-On.jpg|
File:DS-30-Bottom-View.jpg|
File:DS-30-Side-View.jpg|
File:DS-30-Side-View-Other.jpg|
</gallery>

====Basic Menu Operations====
* Press the MENU button for 1 second or longer to open the menu.
* Menu items can be set during a recording or playback.
* Press the + or – button to scroll through the menu. Press the OK button to change the setting of the selected item. Press the OK button to complete the setup screen.
* If the REW button is pressed, the setting will be canceled and it will return to the menu. Press the STOP button to close the menu.
====Power/Hold====
* Push the POWER/HOLD button up to initiate hold and down to turn recorder on. Push POWER/HOLD button down again to turn recorder off.
* When in hold, all functions will remain as they are set. For example, if hold is on when recording, you cannot stop or pause recording until hold is turned off.
====Recording/Playback====
# Press FOLDER button to select folder to record into. Use the +/- buttons to navigate to different folders.
# Once folder is selected, press the REC button the the right side to start recording .To pause, press REC button again.
# To play the recording back, select file and presss PLAY button the right side of the recorder. This is also where the STOP button is located.
====Recording Modes====
While the recorder is stopped, open the menu. Select “Rec Mode”. Choose from “ST XQ”, “ST HQ”, “HQ”, “SP” and “LP”.
====Erasing Files====
Select file within folder and press the orange ERASE button on the bottom left.
====Tips====
* Mic sensitivity allows you to choose three different settings. Slide the MIC SENSE switch and select “LECTURE”, “CONF.”, “DICT.”. Lecture is the highest recording quality suitable for conferences with large crowds, or recording at a distance. Conference is suitable for meetings with small amount of people. Diction is the lowest recording sensitivity suitable for dictation.
* Voice filter is a function to cut low and high frequency tones during normal, fast, or slow playback, and enables clear audio playback.
* Noise cancel is a setting to use if audio is difficult to understand because of noisy surroundings. Menu options are high, low, and off and can be set while stopped or during playback.

===Sony RDS===
<gallery>
File:Sony-Front-View.jpg|
File:Sony-Back-View.jpg|
File:Sony-Side-View.jpg|
File:Sony-Side-View-Other.jpg|
</gallery>
====Basic Menu Functions====
# Press the MENU/FOLDER button to open folder list.
# Use FF/REW buttons on side to scroll through list.
# Use the PLAY/STOP button on the side to select folder.
* HOLD button is on back of recorder.
** The HOLD button is also the POWER switch. Use it to turn the recorder on and off.
** When in hold, all functions will remain as they are set. For example, if hold is on when recording, you cannot stop or pause.
* Recording modes can be altered by using the mEnu and selecting either LOW or HIGH.
====Recording/Playback====
# Select folder to record into.
# When ready to record, press red circular button on the right side of the recorder.
# To pause recording, press the REC red button once again.
# To play back recoding, hit the STOP button on the side of the recorder which will put you back at the folder. Press the PLAY button to play back recording.
====Erasing Files====
# To erase files, select folder and file. Press the small red circular button on the left side to erase.
# Hold button down for 1 second or longer and file will be deleted.
====Tips====
* DPC: When you slide the DPC (Digital PItch Control) switch to “ON”, you can adjust the playback speed between +200% and -75% of normal speed in the menu. The message is played back in natural tones by this function.
** Slide the DPC switch to ON.
** Press and hold MENU button to enter menu. Use REW/FF buttons to select DPC then press PLAY. Press STOP to exit.
** Slide switch to OFF poition to return to normal playback.
* NOISE CUT: When NOISE CUT switch is set to ON, the distortion of very low frequencies which are outside the human voice range is reduced, therefore you can hear the human voice more clearly. However, when you are using the built in speaker this function is not available.
** Slide the NOISE CUT button to the ON/OFF position.

[[category:Media Loan]]

Library 2310

2014-05-09T17:08:40Z

Galloa:

===Computer (built-in)===
Turn on the projector and select “PC” on the podium. If you are using the built-in MacMini, make sure the podium “Computer” switch is set to “Built-in”. The computer should be on, so just move the mouse or press any key on the keyboard to wake it up. You must authenticate with your TESC login to use the computer, and it may take a few extra moments to start up the first time you log in. If you don’t have a TESC login, call Media Services at x6270 for access. Always log out when you are done with the computer.

===Computer (laptop)===
Turn on the projector and select “PC” on the podium. If you are using your own laptop, make sure the podium “Computer” switch is set to “Portable”. Connect the VGA cable coming out of the podium to your computer, and if you will need to hear computer audio, plug the small audio plug into your headphone jack. An ethernet cable is also provided for internet access.
For best results, wait until everything is connected before turning on your laptop, and it should automatically appear on the large screen.

===Document Camera===
Turn on the projector and select “Doc Cam” on the podium. Unfold the arms and lens of the document camera, taking care not to force them. Press the button on the document camera labeled “On/Off”. Place your document on the white surface. To temporarily freeze the image on the screen, press “Pause”, then press again to unfreeze.

===DVD or CD===
The DVD player is located in the equipment rack, so you will need a key to open it. After turning on the projector and selecting “DVD” on the podium, put your disc in the player, and use either the podium control buttons or the remote control (in the equipment rack drawer) to navigate.

===VHS tape or TV===
The VCR is located in the equipment rack, so you will need a key to open it. After turning on the projector and selecting “VCR” on the podium, put your tape in the player, and use either the podium control buttons or the remote control (in the equipment rack drawer) to control playback or change channels.

===DV tape===
The DV deck is located in the equipment rack, so you will need a key to open it. After turning on the projector and selecting “DVCAM” on the podium, put your tape in the player, and use the remote control (in the equipment rack drawer) to control playback.

Category:Media Loan

2014-04-09T17:01:08Z

Galloa: /* Media Loan Operating Guides and Proficiency Questions */

<big>'''THIS CATEGORY IS STILL UNDER CONSTRUCTION'''</big> 
[http://www.evergreen.edu/medialoan/operatingguides.htm Old Operating Guide Page]

===Media Loan Operating Guides and Proficiency Questions===
Schedule individual proficiencies at Media Loan's front desk or by calling 360-867-6253. Read Operating Guide and answer questions in Proficiency Test. Bring answer sheet with you to scheduled proficiency test or workshop.

Proficiency progression for still film cameras: (1) 35mm > (2) Medium Format > (3) Bronica / 4x5

[http://blogs.evergreen.edu/medialoan/equipment/ Media Loan Equipment Catalog] 
[http://blogs.evergreen.edu/medialoan/equipment/video-tutorials/ Video Tutorials]

[[Category:Media Technologies]]

Zoom H4n Audio Recorder Gear Guide

2014-04-09T16:56:29Z

Galloa:

A proficiency test is required to check out this camera. Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and [[Marantz PMD-660 Audio Recorder Operating Guide]] and complete the written portion of the [[Digital Audio Recorder Proficiency Test]] prior to your scheduled proficiency. Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes. 

[http://blogs.evergreen.edu/medialoan/2014/03/26/how-to-record-high-quality-audio-on-a-budget/ Video Tutorial - How to record high quality audio on a budget]
===Safety Precautions===
* '''DO NOT use in or subject unit to extreme temperatures, near heat sources, high humidity or moisture, excessive dust or sand, excessive vibration or shock.
* '''DO NOT insert foreign objects into or allow liquid to enter the unit.
* '''DO NOT exert undue pressure on the keys or other controls.
* '''DO NOT put the H4n speaker next to other precision instruments, such as a computer, or next to magnetic cards.
* '''ALWAYS power down the H4n and all attached equipment before unplugging any cables. Unplug cables before moving the H4n unit to avoid jarring the jacks.
* '''NEVER open the casing of the H4n or attempt to modify it in any way. Bring the unit to Media Loan for service immediately if it is not functioning correctly.
* '''DO NOT use the H4n at loud volumes for extended periods of time, as it may cause hearing impairment.
* '''REMEMBER that you are 100% financially responsible for all equipment you check out from Media Loan!'''
 
It is highly recommended that you consult the complete H4n manual for detailed information regarding recording, modes and all further H4n details. There is simply too much information to be included in a simple guide such as this. The complete H4n manual is available from '''Media Loan'''.

===Operation===
<gallery>
File:zoomfront.jpg|
File:zoomback.jpg|
File:zoomac.jpg|
</gallery>
====Supplying Power to the H4n====
Since power consumption of this unit is fairly high, we recommend the use of an AC power adapter whenever possible. If using batteries is necessary, make sure to use Alkaline or Nickel-Metal Hydride (NiMH) batteries.
::Use only the AC adapter provided by Media Loan. Use of any other adapter could damage the H4n.
::During lightning or when not using the recorder for an extended period, disconnect the recorder from the AC outlet.
::When powering with batteries, use two conventional size AA - 1.5 volt batteries of the same type.
::When not using the recorder from an extended period, remove the batteries.
::When using the recorder, the battery cover should be closed.
::Before plugging in or unplugging, inserting or removing batteries, make sure the H4n is powered down, otherwise, any data on the recorder may be destroyed.
::The H4n can be powered by USB, but ONLY when it is being used as a USB audio interface or to transfer files.
====SD Card====
Media Loan provides a SD card with the H4n recorder, This should provide a large amount of recording time, even while recording in very high definition formats. If you need longer recording times than the card can provide, the H4n will accept SD and SDHC cards.
::Do not remove the SD card unless absolutely necessary.
::Make sure the recorder is turned off before attempting to change the SD card.
::SD cards are expensive. Always remember to return your recorder with the SD card it came with from Media Loan.
::If the SD card does not seem to fit or you are having difficulty removing it, please return to Media Loan for assistance.
::Do not exert any excessive force on the SD card or the recorder.
====Power/HOLD Switch====
<gallery>
File:zoompowerhold.jpg|
</gallery>
The power switch to the H4n is a two-way slider switch. To power on the H4, push the switch toward the power logo, then release it. The switch will return to its original position, and the H4n will begin to boot up. To power off the recorder, pull the switch towards the power logo and hold it there until the screen displays “Goodbye See You!”
The power switch also functions as a key hold switch to prevent any unwanted changes during recording. To put the H4n into key hold mode, push the power switch into the hold position. The screen will show that the H4n is in key hold mode, and all buttons will not respond until key hold mode is deactivated. To switch out of key hold mode, simply pull the power switch back to the center position. The screen will display that the key guard has been released.
====Main Menu and Controls====
<gallery>
File:zoommenureclevel.jpg|
</gallery>
To access the main menu, press the MENU button on the right side of the recorder. Once inside the main menu, turn the dial to select the desired option and press the dial to select. To go back to the previous menu screen, press the MENU button again.
====Menu Options====
'''[Folder]''' - The H4n offers 10 folders to keep recorded files separate and organized. When in the menu, the current folder will display at the bottom of the screen. 
'''[File]''' - File Management within the selected folder. 
'''[Input]''' - Fine tune controls for different inputs. 
'''[Rec]''' - Controls for file format/quality, and prerecording/volume activated recording. 
'''[Mixer]''' - Controls volume and pan settings for recording. 
'''[Mode]''' - Use to select a recording mode. 

:::'''NOTE:''' All modes can be changed from the mode menu '''EXCEPT''' stamina mode! For complete details on using stamina mode, see the '''Recording Modes''' section of this manual.

====Recording Sources====
<gallery>
File:zoommics.jpg|
File:zoominputs.jpg|
File:zoommonomix.jpg|
</gallery>
The H4n can record from several different sources, including the built in stereo microphone, an external stereo microphone, and external microphones or instruments attached with XLR or 1/4” jacks. Recording sources can be chosen with the input buttons on the face of the recorder. 

'''Built in Stereo Mic''' - The H4n features a versatile built in XY stereo microphone, capable of recording in a 120° or 90° spread. Behind the built in stereo mic, there is a stereo mini jack to plug in an external stereo mic. an external mic is plugged into this jack, it will supersede the built in microphone. To record from this source, press the MIC button. When the source is active, the MIC button will glow. 

'''Input Jacks [1] and [2]''' - The input jacks on the bottom of the recorder accept both XLR cables for microphones, and 1/4” cables for instruments. The input jacks are controlled by the [1] and [2] buttons on the input panel. In 2CH and 4CH modes, the two input jacks operate as a stereo pair. If you select one jack input button, both will glow to indicate that they are both active. IN MTR mode, the two jacks can be used independently. 

:::'''NOTE:'''To record one microphone onto both sides of a stereo track, select the input jacks as the recording source, then make sure the '''MONO MIX''' setting of the '''INPUT''' sub-menu is '''ON'''. When '''MONO MIX''' is active, the H4n will record both stereo channels from one of the mono input jacks.

====Recording Modes====
<gallery>
File:zoomstamina.jpg|
File:zoommenureclevel.jpg|
File:zoomheadphoneusb.jpg|
</gallery>
The H4n has several different recording modes, which change the way the recorder operates, and which inputs can be used. All recording modes except for stamina mode can be chosen in the '''MODE''' sub-menu. 

'''Stamina Mode''' - Stamina mode is designed for the sole purpose of conserving battery life, and should only be used if it is necessary to record for extremely long periods with no access to fresh batteries or AC power. Stamina mode will increase battery life from about 6 hours to about 11 hours. In stamina mode, the H4n operates exactly like stereo mode with several limitations:

# In stamina mode, the zoom cannot record in any format other than the lowest quality WAV.
# In stamina mode, the MODE sub-menu is locked out. To turn stamina mode on or off, the user must power down the recorder, and hit the stamina mode switch inside the battery door, then restart the recorder. 
 
'''Stereo Mode''' - Stereo mode uses either the H4n’s built in stereo microphone or inputs [1] and [2]. The input select buttons will illuminate to reflect which source the H4n is recording from. While recording in stereo mode, the sources can be switched at any time, including while the recorder is capturing audio. To change the recording volume, simply hit the REC LEVEL (+) or (-) button. 

'''4CH Mode''' - Simultaneously uses the H4n’s built in stereo mic and inputs [1] and [2]. Recording volumes are controlled by source. Before using the REC LEVEL (+) or (-) button, you must first choose which source you wish to modify the volume for by pressing the corresponding input select button.
 
:::'''NOTE:''' The '''REC LEVEL''' (+) or (-) button should not be confused with the '''VOLUME''' (+) or (-) button found on the other side of the recorder. The '''VOLUME''' button controls the levels of audio output (the speakers or headphones).
'''MTR Mode''' - MTR mode is designed to record onto 4 separate tracks. Each of the tracks can be recorded and modified independently from any of the others. Additionally, tracks 1 & 2 or 3 & 4 can be recorded together. Each track can record from any of the input sources. To begin recording in MTR mode:
# Choose which track (or pair of tracks) you would like to record to.
# Choose the inputs you would like to record onto that track.
 
To change the recording volume in MTR mode:
# Press the track number and input source buttons that you would like to change the recording level for.
# Use the '''REC LEVEL''' (+) or (-) button to change the recording levels. This will only change the recording levels for the selected inputs on the selected track. Setting for the same inputs on other tracks will remain unchanged.

====Recording Formats====
{| class="wikitable"
|-
! Recording Time Per 1 Gigabyte (GB)
|-
| MP3 || 128Kbps || 17Hrs 21 Mins
|-
||| 320 Kbps || 6 Hrs 56 Mins
|-
| WAV || 16 Bit / 44.1 Khz || 1 hr 34 Mins
|-
||| 16 Bit / 48 Khz || 1 Hr 26 Mins
|-
||| 24 Bit / 96 Khz || 28 Mins
|}
The Zoom H4n is capable of recording in both Mp3 or WAV file formats. WAV is an uncompressed and loss-less file formal, while Mp3 is compressed and lossy. This means that WAV files are larger, but retain more detail than MP3's, which trade audio resolution for much smaller file sizes. The H4n’s highest recording quality is 24 bit / 96 Khz WAV, which is higher quality than CDs, but may be unreadable by many applications due to its large file size. Zoom recorders from Media Loan are provided with a SD card. Total recording time per GB will change depending on format and quality.
===File Transfer===
Transferring audio files from the H4n to a computer is simple, and much like using an external hard drive. To connect the H4n to a computer, make sure the recorder is off, then connect the recorder to your computer via USB. When this is done, turn on the recorder and allow it to boot up. Once the recorder has started, it will give you options for connection modes. Choose '''STORAGE’'', and the H4n will show up like an external hard drive plugged into your computer. You can now drag and drop files or folders off of the zoom recorder onto your computer’s hard drive. Make sure to eject the USB connection before disconnecting the H4n.

[[category:Media Loan]]

Zoom H4n Audio Recorder Gear Guide

2014-04-09T16:56:13Z

Galloa:

A proficiency test is required to check out this camera. Schedule a proficiency at the front desk of Media Loan or by calling 360-867-6253. Read this operating guide and [[Marantz PMD-660 Audio Recorder Operating Guide]] and complete the written portion of the [[Digital Audio Recorder Proficiency Test]] prior to your scheduled proficiency. Bring your answer sheet with you to the test, which should take approximately 30 - 45 minutes.
[http://blogs.evergreen.edu/medialoan/2014/03/26/how-to-record-high-quality-audio-on-a-budget/ Video Tutorial - How to record high quality audio on a budget]
===Safety Precautions===
* '''DO NOT use in or subject unit to extreme temperatures, near heat sources, high humidity or moisture, excessive dust or sand, excessive vibration or shock.
* '''DO NOT insert foreign objects into or allow liquid to enter the unit.
* '''DO NOT exert undue pressure on the keys or other controls.
* '''DO NOT put the H4n speaker next to other precision instruments, such as a computer, or next to magnetic cards.
* '''ALWAYS power down the H4n and all attached equipment before unplugging any cables. Unplug cables before moving the H4n unit to avoid jarring the jacks.
* '''NEVER open the casing of the H4n or attempt to modify it in any way. Bring the unit to Media Loan for service immediately if it is not functioning correctly.
* '''DO NOT use the H4n at loud volumes for extended periods of time, as it may cause hearing impairment.
* '''REMEMBER that you are 100% financially responsible for all equipment you check out from Media Loan!'''
 
It is highly recommended that you consult the complete H4n manual for detailed information regarding recording, modes and all further H4n details. There is simply too much information to be included in a simple guide such as this. The complete H4n manual is available from '''Media Loan'''.

===Operation===
<gallery>
File:zoomfront.jpg|
File:zoomback.jpg|
File:zoomac.jpg|
</gallery>
====Supplying Power to the H4n====
Since power consumption of this unit is fairly high, we recommend the use of an AC power adapter whenever possible. If using batteries is necessary, make sure to use Alkaline or Nickel-Metal Hydride (NiMH) batteries.
::Use only the AC adapter provided by Media Loan. Use of any other adapter could damage the H4n.
::During lightning or when not using the recorder for an extended period, disconnect the recorder from the AC outlet.
::When powering with batteries, use two conventional size AA - 1.5 volt batteries of the same type.
::When not using the recorder from an extended period, remove the batteries.
::When using the recorder, the battery cover should be closed.
::Before plugging in or unplugging, inserting or removing batteries, make sure the H4n is powered down, otherwise, any data on the recorder may be destroyed.
::The H4n can be powered by USB, but ONLY when it is being used as a USB audio interface or to transfer files.
====SD Card====
Media Loan provides a SD card with the H4n recorder, This should provide a large amount of recording time, even while recording in very high definition formats. If you need longer recording times than the card can provide, the H4n will accept SD and SDHC cards.
::Do not remove the SD card unless absolutely necessary.
::Make sure the recorder is turned off before attempting to change the SD card.
::SD cards are expensive. Always remember to return your recorder with the SD card it came with from Media Loan.
::If the SD card does not seem to fit or you are having difficulty removing it, please return to Media Loan for assistance.
::Do not exert any excessive force on the SD card or the recorder.
====Power/HOLD Switch====
<gallery>
File:zoompowerhold.jpg|
</gallery>
The power switch to the H4n is a two-way slider switch. To power on the H4, push the switch toward the power logo, then release it. The switch will return to its original position, and the H4n will begin to boot up. To power off the recorder, pull the switch towards the power logo and hold it there until the screen displays “Goodbye See You!”
The power switch also functions as a key hold switch to prevent any unwanted changes during recording. To put the H4n into key hold mode, push the power switch into the hold position. The screen will show that the H4n is in key hold mode, and all buttons will not respond until key hold mode is deactivated. To switch out of key hold mode, simply pull the power switch back to the center position. The screen will display that the key guard has been released.
====Main Menu and Controls====
<gallery>
File:zoommenureclevel.jpg|
</gallery>
To access the main menu, press the MENU button on the right side of the recorder. Once inside the main menu, turn the dial to select the desired option and press the dial to select. To go back to the previous menu screen, press the MENU button again.
====Menu Options====
'''[Folder]''' - The H4n offers 10 folders to keep recorded files separate and organized. When in the menu, the current folder will display at the bottom of the screen. 
'''[File]''' - File Management within the selected folder. 
'''[Input]''' - Fine tune controls for different inputs. 
'''[Rec]''' - Controls for file format/quality, and prerecording/volume activated recording. 
'''[Mixer]''' - Controls volume and pan settings for recording. 
'''[Mode]''' - Use to select a recording mode. 

:::'''NOTE:''' All modes can be changed from the mode menu '''EXCEPT''' stamina mode! For complete details on using stamina mode, see the '''Recording Modes''' section of this manual.

====Recording Sources====
<gallery>
File:zoommics.jpg|
File:zoominputs.jpg|
File:zoommonomix.jpg|
</gallery>
The H4n can record from several different sources, including the built in stereo microphone, an external stereo microphone, and external microphones or instruments attached with XLR or 1/4” jacks. Recording sources can be chosen with the input buttons on the face of the recorder. 

'''Built in Stereo Mic''' - The H4n features a versatile built in XY stereo microphone, capable of recording in a 120° or 90° spread. Behind the built in stereo mic, there is a stereo mini jack to plug in an external stereo mic. an external mic is plugged into this jack, it will supersede the built in microphone. To record from this source, press the MIC button. When the source is active, the MIC button will glow. 

'''Input Jacks [1] and [2]''' - The input jacks on the bottom of the recorder accept both XLR cables for microphones, and 1/4” cables for instruments. The input jacks are controlled by the [1] and [2] buttons on the input panel. In 2CH and 4CH modes, the two input jacks operate as a stereo pair. If you select one jack input button, both will glow to indicate that they are both active. IN MTR mode, the two jacks can be used independently. 

:::'''NOTE:'''To record one microphone onto both sides of a stereo track, select the input jacks as the recording source, then make sure the '''MONO MIX''' setting of the '''INPUT''' sub-menu is '''ON'''. When '''MONO MIX''' is active, the H4n will record both stereo channels from one of the mono input jacks.

====Recording Modes====
<gallery>
File:zoomstamina.jpg|
File:zoommenureclevel.jpg|
File:zoomheadphoneusb.jpg|
</gallery>
The H4n has several different recording modes, which change the way the recorder operates, and which inputs can be used. All recording modes except for stamina mode can be chosen in the '''MODE''' sub-menu. 

'''Stamina Mode''' - Stamina mode is designed for the sole purpose of conserving battery life, and should only be used if it is necessary to record for extremely long periods with no access to fresh batteries or AC power. Stamina mode will increase battery life from about 6 hours to about 11 hours. In stamina mode, the H4n operates exactly like stereo mode with several limitations:

# In stamina mode, the zoom cannot record in any format other than the lowest quality WAV.
# In stamina mode, the MODE sub-menu is locked out. To turn stamina mode on or off, the user must power down the recorder, and hit the stamina mode switch inside the battery door, then restart the recorder. 
 
'''Stereo Mode''' - Stereo mode uses either the H4n’s built in stereo microphone or inputs [1] and [2]. The input select buttons will illuminate to reflect which source the H4n is recording from. While recording in stereo mode, the sources can be switched at any time, including while the recorder is capturing audio. To change the recording volume, simply hit the REC LEVEL (+) or (-) button. 

'''4CH Mode''' - Simultaneously uses the H4n’s built in stereo mic and inputs [1] and [2]. Recording volumes are controlled by source. Before using the REC LEVEL (+) or (-) button, you must first choose which source you wish to modify the volume for by pressing the corresponding input select button.
 
:::'''NOTE:''' The '''REC LEVEL''' (+) or (-) button should not be confused with the '''VOLUME''' (+) or (-) button found on the other side of the recorder. The '''VOLUME''' button controls the levels of audio output (the speakers or headphones).
'''MTR Mode''' - MTR mode is designed to record onto 4 separate tracks. Each of the tracks can be recorded and modified independently from any of the others. Additionally, tracks 1 & 2 or 3 & 4 can be recorded together. Each track can record from any of the input sources. To begin recording in MTR mode:
# Choose which track (or pair of tracks) you would like to record to.
# Choose the inputs you would like to record onto that track.
 
To change the recording volume in MTR mode:
# Press the track number and input source buttons that you would like to change the recording level for.
# Use the '''REC LEVEL''' (+) or (-) button to change the recording levels. This will only change the recording levels for the selected inputs on the selected track. Setting for the same inputs on other tracks will remain unchanged.

====Recording Formats====
{| class="wikitable"
|-
! Recording Time Per 1 Gigabyte (GB)
|-
| MP3 || 128Kbps || 17Hrs 21 Mins
|-
||| 320 Kbps || 6 Hrs 56 Mins
|-
| WAV || 16 Bit / 44.1 Khz || 1 hr 34 Mins
|-
||| 16 Bit / 48 Khz || 1 Hr 26 Mins
|-
||| 24 Bit / 96 Khz || 28 Mins
|}
The Zoom H4n is capable of recording in both Mp3 or WAV file formats. WAV is an uncompressed and loss-less file formal, while Mp3 is compressed and lossy. This means that WAV files are larger, but retain more detail than MP3's, which trade audio resolution for much smaller file sizes. The H4n’s highest recording quality is 24 bit / 96 Khz WAV, which is higher quality than CDs, but may be unreadable by many applications due to its large file size. Zoom recorders from Media Loan are provided with a SD card. Total recording time per GB will change depending on format and quality.
===File Transfer===
Transferring audio files from the H4n to a computer is simple, and much like using an external hard drive. To connect the H4n to a computer, make sure the recorder is off, then connect the recorder to your computer via USB. When this is done, turn on the recorder and allow it to boot up. Once the recorder has started, it will give you options for connection modes. Choose '''STORAGE’'', and the H4n will show up like an external hard drive plugged into your computer. You can now drag and drop files or folders off of the zoom recorder onto your computer’s hard drive. Make sure to eject the USB connection before disconnecting the H4n.

[[category:Media Loan]]

APS Sony HXR HD Camcorder Operating Guide

2014-03-27T18:58:05Z

Galloa:

[http://www.evergreen.edu/medialoan/aps/docs/aps_SonyHXR.pdf Sony HXR Operating Guide - PDF] 
[http://www.evergreen.edu/medialoan/aps/docs/FINAL_HXR-NX5U_Ops_Manual.pdf Sony HXR Complete Manual - PDF] 

[http://blogs.evergreen.edu/medialoan/2014/03/27/sony-hxr-nx5u-nxcam/ Video Tutorials]

[[Category:Media Loan]]

APS Sony HXR HD Camcorder Operating Guide

2014-03-27T18:57:38Z

Galloa:

[http://www.evergreen.edu/medialoan/aps/docs/aps_SonyHXR.pdf Sony HXR Operating Guide - PDF] 
[http://www.evergreen.edu/medialoan/aps/docs/FINAL_HXR-NX5U_Ops_Manual.pdf Sony HXR Complete Manual PDF] 

[http://blogs.evergreen.edu/medialoan/2014/03/27/sony-hxr-nx5u-nxcam/ Video Tutorials]

[[Category:Media Loan]]

APS Sony HXR HD Camcorder Operating Guide

2014-03-27T18:52:59Z

Galloa:

[http://blogs.evergreen.edu/medialoan/2014/03/27/sony-hxr-nx5u-nxcam/ Video Tutorials]

[[Category:Media Loan]]

COM 308

2014-03-19T18:23:19Z

Galloa:

[[File:COM-308-AV-Rack.png|thumbnail]]
This classroom has a media cabinet.
===Power===
# Make sure the audio amplifier is on, located at the top of the rack
# Press the '''Display Power''' button to turn on the projector
# Select your video source: '''VGA''' (Laptop), '''VCR''', or '''DVD'''
# Use the '''Volume''' knob to adjust volume

===Laptop===
# Connect the VGA/mini audio cable to your laptop. Cable is located at the bottom of the rack.
# Connect the other end of the VGA cable to the VGA/Computer input located near the bottom of the rack.
# Turn on the projector by pressing the '''Display Power''' button
# Select '''VGA''' (Laptop)
# Turn on your computer last or restart it
# Select 1024 X 768 in your display preferences for best results

Please power everything off when done.

[[Category:Media Classrooms]]

Category:Media Classrooms

2014-03-19T17:04:36Z

Galloa:

'''Need classroom support?''' Use [http://blogs.evergreen.edu/mediaservices/faculty-staff/media-classroom-help/ this link] to send Media Services your request.

For immediate help call Media Services at x6270

[[Category:Media Technologies]]
[[Category:Campus Technology Spaces]]

Category:Media Classrooms

2014-03-19T01:26:43Z

Galloa:

Need classroom support? Use [http://blogs.evergreen.edu/mediaservices/faculty-staff/media-classroom-help/ this link] to send Electronic Media your request.

For immediate help call Media Services at x6270

[[Category:Media Technologies]]
[[Category:Campus Technology Spaces]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:57:53Z

Galloa: /* Intoduction */

===Intoduction===
[http://www.evergreen.edu/medialoan/aps/docs/aps_BolexH16.pdf Bolex H-16 Reflex Camera Operating Guide PDF]
 
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:57:30Z

Galloa: /* Intoduction */

===Intoduction===
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
'' 

[http://www.evergreen.edu/medialoan/aps/docs/aps_BolexH16.pdf Bolex H-16 Reflex Camera Operating Guide PDF]

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:57:17Z

Galloa: /* Intoduction */

===Intoduction===
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''
[http://www.evergreen.edu/medialoan/aps/docs/aps_BolexH16.pdf Bolex H-16 Reflex Camera Operating Guide PDF]

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:50:38Z

Galloa: /* Reflex Viewfinder */

===Intoduction===
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th of a second || 1/30th of a second
|-
| Non-Rx || 1/80th of a second || 1/40th of a second
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:49:39Z

Galloa: /* Reflex Viewfinder */

===Intoduction===
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens Type !! 24 fps !! Single-frame
|-
| Rx || 1/65th || 1/30th
|-
| Non-Rx || 1/80th || 1/40th
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:48:52Z

Galloa: /* Reflex Viewfinder */

===Intoduction===
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! Lens !! 24 fps !! Single-frame
|-
| Rx || 1/65th || 1/30th
|-
| Non-Rx || 1/80th || 1/40th
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

APS Bolex 16mm Reflex Operating Guide

2013-10-07T01:48:20Z

Galloa: /* Reflex Viewfinder */

===Intoduction===
The Bolex H-16 Rex and H-16 SBM cameras are 16MM reflex cameras. It is an extremely versatile, portable, dependable, well built camera. The optical system permits through-the-lens viewing at all times. The self-threading allows easy loading of daylight spools. Camera features include single-frame filming, extended exposure, slow motion, backwind and a 133 ̊-145 ̊ angle variable shutter. Media Loan’s Advanced Production Services (APS) has a variety of Bolex H-16 cameras manufactured between 1960 and 1976. Although all have similar features, the controls vary slightly. Also available for use with the Bolex cameras are zoom lenses, prime lenses, 400 foot magazines, a motor for sync sound, and intervalometer as well as other accessories.
Although the Bolex is a very well built and dependable camera, care must be taken when using a Bolex checked out from APS as they are expensive and difficult to replace.
*DO NOT subject the camera to severe impacts or prolonged vibrations.
*DO NOT subject the camera to extreme heat or cold. Drastic temperature changes can cause condensation to occur inside the camera. Let the camera acclimate to the environment you are shooting in by letting it rest in the case with the case tabs opened but the lid closed for at least an hour.
*DO NOT touch the prism.
*DO NOT use excessive force or over tighten anything on the camera. 

'''''You are 100% financially responsible for repair and/or replacement in the event of damage or loss of the Bolex as well as any other equipment checked out from Media Loan.'''
''

===Reflex Viewfinder===
The optical system of the Bolex H-16 reflex cameras utilizes a beam splitter permitting through the lens viewing at all times free from flicker. The reflex viewfinder enables accurate focusing and framing, and allows you to estimate the depth of field. The reflex prism deflects 20 - 25% of the light passing through the lens into the viewfinder system. Only 75 – 80% of the light reaches the film plane. The actual quality of the light reaching the film is reduced by about 1/2 to 1/3 of an f-stop. To compensate for the light reduction, Bolex has determined that the effective shutter speed for the H-16 camera is 1/80 of a second rather than the standard 1/65 of a second. Another compensation for the light loss is the RX lens designed by Bolex with Kern/ Switar. The RX lens is calibrated to pass 1/2 to 1/3 more light than the aperture markings on the barrel indicates. When using RX lenses with the H-16 camera, the effective shutter speed is back to 1/65 of a second. APS will provide you with RX lenses (designated after the name on the barrel of the lens), unless you request otherwise or no RX lenses are available. make sure you know whether or not the lenses you are checking out are RX or non-RX. (Ask an APS employee to show you how to check the lens if necessary.) When using non-RX lenses of 50 mm or less, satisfactory results can be obtained when stopped down to f/8 or smaller.

{| class="wikitable"
|-
! !! 24 fps !! Single-frame
|-
| Rx || 1/65th || 1/30th
|-
| Non-Rx || 1/80th || 1/40th
|-
| Example || Example || Example
|}

===Douser===
The douser (located on the reflex viewfinder) closes the eyepiece to keep light from reaching and fogging the film plane through the viewfinder. The douser is open when the lever is in the horizontal position and closed when in the vertical position. Close the douser whenever your eye is removed from the eyepiece to prevent film from fogging.

===Diopter Adjustment===
The diopter adjustment corrects the optical system to the operator’s eyesight and remains the same for all lenses on the camera. If you wear glasses, you can adjust the diopter to your eyesight and achieve accurate focus without your glasses. Always set the diopter to your eyesight (before filming).

====To set the diopter:====
#Turn the turret to expose the reflex prism (no lens in the taking position) or remove the cover of the bayonet mount.
#Point the camera at a light source.
#Unlock the diopter adjustment either by loosening the grooved ring around the viewfinder or the locking screw depending on the camera model.
#Adjust the viewfinder until the grain of the ground glass is perfectly sharp.
#Lock the diopter finger tight, but '''DO NOT OVER-TIGHTEN.'''

===Turret Mount===
By turning the turret, you can change from one lens to another. To turn the turret, use the fold away lever rather than handling the lenses. In this way, there is less risk of accidentally changing the aperture and/or focus ring – or damaging the lenses and/or camera. When using heavier lenses, such as telephoto or zoom lenses, the turret should be locked with a turret plug. Turret plugs go into the lowest lens cavity, when turret is in normal position, and most are marked with a red ring. For lighter
lenses, the turret lock on the camera should be sufficient for stabilizing the turret. This lock is located above the lens in the taking position and should be tightened before the lenses are in place. Place wide-angle lenses and the telephoto lenses opposite of each other on the turret so that the telephoto lens does not interfere with the field of the wide-angle lens.
To attach a lens, simply unscrew the turret cap and screw on the lens. You can have up to three lenses mounted at once on the turret mount. If using less than three lenses, make sure turret caps are secured in unused positions. ALWAYS keep loose turret caps and lens caps in the case to avoid losing them.

====Turret Mount Filters====
Cameras with a turret mount have a filter between the taking lens position and the reflex prism. The filter remains in place no matter which lens is used. When filming without a filter, an empty filter carrier should be left in the filter slot to prevent light from entering the camera trough the slot and fogging the film. Make sure the carrier is located firmly within the slot and the correct filter is in place before shooting. An incorrect filter will either alter the color balance or exposure.

===Bayonet Mount===
The Bolex H-16 SBM camera has a single lens bayonet mount and is recommended for use with heavier lenses. To mount a lens:
1. Turn the outer ring in the direction of the arrow (counter-clockwise if camera is facing you). Press the button on the bottom of the mount to move the screw into the open position where you will se the tabs of the cap.
2. Lift the cap out of the mount and immediately place the lens mount in its place. Be careful not to touch the prism!
3. Turn the ring clockwise to secure the lens mount in place and screw the lens into place.
To remove a lens and secure the bayonet mount: 4. Unscrew the lens; replace lens caps and return to lens case. 5. Turn outer ring as described above until tabs in lens ring are revealed.
6. To remove the lens mount, tip camera forward with hand cupped under below to catch the lens mount. DO NOT touch prism with fingers!
7. Replace cap and secure by turning lens clockwise.

====Bayonet Mount Filters====
Filter insertion is from the control side of the camera. When not in use, the filter should be left in the storage position with the lever folded down and locked.
To insert a filter:
1. Slide the button down and insert the filter into the filter slot with the notched side down.
2. The first position is where the filter can be stored until needed. Fold the handle down and secure in notch.
To use the filter, it must be inserted all the way in to the filter slot so that it is in between the lens and the prism.
3. From the storage position, unfold the lever. Slide the button down and continue inserting the filter until it’s all the way in.

===Film Speeds===
The camera has film speeds ranging from 12 to 64 frames per second, except for the H-16 Reflex (the earliest model) which also has a setting for 8fps. To select the desired film speed, turn the control knob until the corresponding figure is opposite the red dot. When changing filming speeds, do not forget to alter exposure setting. (When changing from 24 to 48 by one stop and so forth.)

===Release Selector (AKA Side Release)===
The H-16 can be used for normal, continuous or single frame filming. The different operations are controlled by the release selector.
Normal – This method is suitable for most shooting situations. The camera runs as long as the operator depresses the front release button or pushes the release selector towards M.
Continuous – Push the release selector towards M until it clicks into place. The camera will continue running until the wind runs out or the release selector is pushed back to the STOP position.
Single frame – Use a cable release adapter to attach a cable release to the release selector. The adapter should be set so that the cable release pushes the release selector towards the P. Single frame exposures can be set for Instantaneous or Time Release. Turn the knob or lever to I to select Instantaneous. The effective shutter speed is 1/30 of a second. To select Time Release, set the knob’s guide mark or the lever to T. The shutter will stay open for as long as the release selector is set to P.

===Camera Motor===
The H-16 cameras have a spring drive motor. The motor can be disengaged to backwind the film. Most cameras that are available from APS can be used with a motor and therefore used with the Intervalometer for time-lapse animation or with electric motor for sync sound.
To wind the camera:
#Set the disengaging lever to MOT and the release selector to STOP. (If the release selector will not go to STOP, slightly wind the spring.)
#Lift the winding crank, which automatically engages the spindle, and set so that the slot in the handle is secured on the tab.
#Wind the spring counter-clockwise fully without forcing it.
#Fold the crank back and secure it on the latch on the lower body.

Fully wound, the motor will drive about 18 feet of film through the camera (about 28 seconds at 24fps).
Important: Never leave the camera wound during storage. This may ruin the spring. When running down the camera with no film loaded, set the film speed at the lowest setting.

===Varaible Shutter===
The H-16 is equipped with a shutter capable of having its aperture varied whether or not the camera is running or stopped. This enables you to reduce exposure time without altering the camera running speed or f-stop. In bright light, the variable shutter can be used to reduce exposure, therefore eliminating the need for a neutral density filter.
The shutter may be locked in each of its five positions by pulling it out and pushing in when at the desired setting. The markings on the variable shutter correspond to the equivalent f-stop change (i.e., filming at the 1/2 mark is equivalent to stopping down by 1/2, at mark 2 equals closing down the lens diaphragm by 2 stops.) When the variable shutter is fully closed, no light enters the film plane.
Warning: You can still see an image through the viewfinder if the variable shutter is closed. Some cameras show a triangular warning signal, but not all. Make sure you variable shutter is opened to the correct setting when filming.
===Footage Counter===
The footage counter indicates how much film has been exposed. The counter will automatically reset when the lid is removed and will read FEET.
===Frame Counter===
The frame counter is helpful for lap dissolves, double exposures and animation. The frame counter adds frames in forward run and subtracts them in reverse. The upper dial counts single frames, 0 - 50. The lower dial totals in units of 50 frames, 0 - 1000.
===Loading the Camera===
The H-16 has automatic threading and loop forming capabilities making it an easy camera to load. When shooting at 24fps, there is an option for an audible click every second indicating that 8 inches of film has passed through the camera. This can be useful when timing a pan or zoom shot. For an audible click, move the audible signal select lever down when loading film; for no click place the lever in the 0 position.
====Before loading the camera:====
#Set the release selector to STOP.
#Set the disengaging lever to MOT.
#Set the frame rate to the desired camera speed.
#Wind the camera.
Open the camera lid. Visually inspect the film gate to make sure that it is not dirty. DO NOT use condensed air to blow dust from the camera. Cleaning the gate is a delicate procedure and you can cause irreparable damage if you do not do it correctly. Cameras are inspected and cleaned when they are returned to Media Loan so the camera you check out should be ready for filming. Use care when loading the camera so that you do not inadvertently get hair or debris inside which could ruin your film. Make sure your hands are clean before loading film or otherwise poking about inside the camera.

====Loading the Camera====
When loading the Bolex, make sure to go through the following steps: 

#Check that the pressure plate is locked so that it cannot open. The film will jam at this point if the plate is not closed.
#Close the loop formers by moving the control lever down so that it is parallel to the pressure plate.
#Remove the empty daylight spool from its spindle by pressing the ejector. This will be your take-up spool. (The spool can pop out so block it with your hand.)
#Place the loaded daylight spool on the upper spindle. The film should come off in the direction of the engraved arrow. At the film gate, the emulsion should always face towards the front of the camera.
#Using the film end located at the bottom of the camera, clip the film end.
#Insert film end in the top feed sprocket and start the camera motor by depressing the front release button.
#The film is automatically threaded through the gate. If you need to adjust the film, you can spread the sprocket guides by carefully pushing the sprocket guide in from the sprocket wheels.
#Continue to run the film until about 12 inches have run through the drive mechanism.
#Open the loop formers by pressing the button on the lever located on the sprocket/gate assembly.
#Insert the film end into the take-up spool in the direction of the engraved arrow. Place the spool on the lower spindle and take up any slack by hand.
#Run the camera again for several seconds, listening to make sure the film is threaded properly. Check that the film is advancing properly and that the loops do not scrape the body.
#Replace the lid and lock.
#The footage counter will be reset. Run the camera until the counter reads 0. This indicates the film leader has been taken up and the camera is ready to be used.
'''Film can be loaded in light, but subdued light is best.'''

===Lap Dissolve===
Superimposing a fade-in on a fade-out makes a lap dissolve so that one picture gradually disappears as the next gradually appears. (This is also known as a cross-dissolve.) This allows for a smooth transition during which the picture brightness scarcely varies. To produce a lap dissolve:
#Close the first shot in a sequence with a fade out. When beginning to close down the variable shutter, note what frame you are at in the frame counter. Alternatively, time how long it takes you to reach the closed position from the start of the fade and stop filming.
#Lock the variable shutter in the closed position.
#Disengage the motor by setting the selector to 0.
#Set the release selector to M.
#Close the douser if not already closed by moving it into the vertical position.
#Cap the lens.
#Using the backwind key, rewind the film until the frame counter indicates the duration of the fade out.
#Move the release selector to the STOP position.
#Frame the second sequence to be filmed.
#As you begin filming by pressing the release selector to M, begin the fade in by moving the variable shutter smoothly to the open position.
#Lock the variable shutter into the open position.
The Rex-o-fader is an accessory that can help with smooth fades and is available at APS. Ask an APS employee to show you how to attach and use it if you decide to check it out with a Bolex.

[[Category:Media Loan]]

MiniDV SD Camcorder Operating Guide

2013-10-03T17:46:49Z

Galloa: Created page with "[http://www.evergreen.edu/medialoan/docs/video_SDpalmcorders.pdf MiniDV SD Camcorder PDF] Category:Media Loan"

[http://www.evergreen.edu/medialoan/docs/video_SDpalmcorders.pdf MiniDV SD Camcorder PDF]
[[Category:Media Loan]]

Olympus Tough TG-2 Point & Shoot Camera Operating Guide

2013-09-06T18:37:34Z

Galloa: Created page with "This page is under construction. [http://www.evergreen.edu/medialoan/docs/manual_camera_olympus_tg-2.pdf Olympus Tough TG-2 Manual] Category:Media Loan"

This page is under construction. [http://www.evergreen.edu/medialoan/docs/manual_camera_olympus_tg-2.pdf Olympus Tough TG-2 Manual]

[[Category:Media Loan]]

Category:Media Loan

2013-08-19T22:07:13Z

Galloa:

Longhouse 1007A

2013-08-19T17:48:28Z

Galloa:

[[Category:Media Classrooms]]
<gallery>
Final figures.jpg|Panel
</gallery>

===LAPTOP: (You may play a DVD through your laptop.)===
#Lower projection screen using the Projector Screen switch. (Figure 2)
#Press the ON button to turn on the Data Projector. Projector will take 30 seconds to warm up. ON button will stop blinking when Projector is ready. (Figure 2)
#Select PC. (Figure 2)
#Insert VGA cable from laptop into computer Input Jack. Insert audio cable into the Audio Input. (Figure 1)
#Turn On your Laptop.
#Use the Volume knob to adjust audio levels. (Figure 2)

==VCR/DVD:==
#Using an RCA cable, connect the video and audio outputs of the VCR/DVD player to the 'Video', 'Left Audio' and 'Right Audio' inputs on the panel. (Figure 1)
#Press video toggle on (Figure 2).

==Microphones:==

====Wired Microphone(’s):====
#Connect XLR cable into either input, Mic 1 or Mic 2. (Figure 1)
#Connect microphone into other end of the XLR cable.
#Adjust volume using the trim knobs above the mic inputs, (Figure 1)
#Additional volume can be controlled from the other panel’s volume control. (Figure 2)

====Wireless Microphone(’s):This side is YELLOW====
'''The Longhouse wireless microphones can be checked out from Media Loan (Faculty only).'''
'''There are two microphones, one for each room. The microphone with yellow tape only works in 1007A.'''
'''The microphone with red tape works in 1007B or can be combined to have audio in both rooms (see ‘combining’).'''
# power on the microphone by holding down the red button on the bottom of the microphone.
# The “Mic” button on the side of the microphone is a mute switch. when illuminated red, the mic is on.
# Volume can be controlled using the volume toggle on panel. (Figure 2)

==Combining==
'''(If you are using 1007A and 1007B as a single room, the combine switch must be set to ‘Combined’.'''
'''Contact Electronic for assistance. X6270. )'''

====Dual Projection:====
#Connect VGA cable from 1007B (The side with the combine switch) into your laptop. (Dual screen will not work if you are using the VGA cable in 1007A). (Figure 1)
#On the panels In Both Rooms select the “PC” inputs. (Figure 2)

====Dual Room Wired Microphone:====
*follow the same steps as a single room wired mic.
'''You must connect the mic into the panel in 1007B (The side with the combine switch).'''

====Dual Room Wireless Microphone:====
*Follow the same steps as a single room wireless microphone.
'''You must use the wireless mic labled B. RED TAPED MICROPHONE '''

Category:Media Loan

2013-08-19T17:15:49Z

Galloa: /* Media Loan Operating Guides and Proficiency Questions */

<big>'''THIS CATEGORY IS STILL UNDER CONSTRUCTION'''</big> 

===Media Loan Operating Guides and Proficiency Questions===
Schedule individual proficiencies at Media Loan's front desk or by calling 360-867-6253. Read Operating Guide and answer questions in Proficiency Test. Bring answer sheet with you to scheduled proficiency test or workshop.

Proficiency progression for still film cameras: (1) 35mm > (2) Medium Format > (3) Bronica / 4x5

[http://blogs.evergreen.edu/medialoan/equipment/ Media Loan Equipment Catalog]

[[Category:Media Technologies]]

Zoom H4n Audio Recorder Gear Guide

2013-06-28T18:01:49Z

Galloa:

This is a placeholder for a Zoom H4n Operating Guide

[[category:Media Loan]]

Sem II 1105 Tiered Lecture

2013-06-28T18:01:33Z

Galloa: Created page with "Placeholder for SEMII 1105 Category:Media Classrooms"

Placeholder for SEMII 1105

[[Category:Media Classrooms]]

Category:Media Classrooms

2013-06-28T18:00:13Z

Galloa: Created page with "Category:Media Technologies"

[[Category:Media Technologies]]

Zoom H4n Audio Recorder Gear Guide

2013-06-28T18:00:00Z

Galloa:

This is a placeholder for a Zoom H4n Operating Guide

[[category:Media Loan]]
[[category:Media Classrooms]]

Sony PD-150/170 3CCD Mini DVCAM Camcorder Proficiency Test

2013-05-23T17:36:49Z

Galloa: Galloa moved page Sony PD-150/170 MiniDV Camcorder Proficiency Test to Sony PD-150/170 3CCD Mini DVCAM Camcorder Proficiency Test

UNDER CONSTRUCTION

[[Category:Media Loan]]

Sony PD-150/170 MiniDV Camcorder Proficiency Test

2013-05-23T17:36:49Z

Galloa: Galloa moved page Sony PD-150/170 MiniDV Camcorder Proficiency Test to Sony PD-150/170 3CCD Mini DVCAM Camcorder Proficiency Test

#REDIRECT [[Sony PD-150/170 3CCD Mini DVCAM Camcorder Proficiency Test]]

Sony PD-150/170 3CCD Mini DVCAM Camcorder Operating Guide

2013-05-23T17:36:21Z

Galloa: Galloa moved page Sony PD-150/170 MiniDV Camcorder Operating Guide to Sony PD-150/170 3CCD Mini DVCAM Camcorder Operating Guide

UNDER CONSTRUCTION

[[Category:Media Loan]]

Sony PD-150/170 MiniDV Camcorder Operating Guide

2013-05-23T17:36:21Z

Galloa: Galloa moved page Sony PD-150/170 MiniDV Camcorder Operating Guide to Sony PD-150/170 3CCD Mini DVCAM Camcorder Operating Guide

#REDIRECT [[Sony PD-150/170 3CCD Mini DVCAM Camcorder Operating Guide]]

Sony PD-150/170 3CCD Mini DVCAM Camcorder Proficiency Test

2013-05-23T17:33:06Z

Galloa: Created page with "UNDER CONSTRUCTION Category:Media Loan"

UNDER CONSTRUCTION

[[Category:Media Loan]]

Sony PD-150/170 3CCD Mini DVCAM Camcorder Operating Guide

2013-05-23T17:32:36Z

Galloa: Created page with "UNDER CONSTRUCTION Category:Media Loan"

UNDER CONSTRUCTION

[[Category:Media Loan]]

Canon Rebel Proficiency Test

2013-05-08T21:02:49Z

Galloa: /* OPERATIONAL PROFICIENCY */

=== WRITTEN TEST ===
Answers may be found in the [[Canon Rebel XT / XSi Operating Guide]] and [[Canon Rebel T1i/T2i Operating Guide]]. Complete this written portion and bring it with you to your scheduled operational proficiency. Call 867-6253 if you have any questions.
Good luck!

# How do you set the shutter speed and where will you view the shutter speed settings?
# How do you connect the camera to a computer via USB?
# What is the icon for Aperture Priority?
# When setting the Mode Dial to Full Auto, what three exposure variables are set?
# Should you shoot B&W with a Rebel?
# When should you change the white balance settings; and with regards to this, what should you remember when returning the camera to Media Loan?
# What should you do if the LCD panel does not display a clear image?
# Name three things that might permanently damage this camera.
# If you check out a camera and it is lost, stolen or damaged, who is 100% responsible for the replacement costs of it?

=== OPERATIONAL PROFICIENCY ===
To be done during your scheduled proficiency.
* Remove the camera from the case and identify all controls and parts.
* Correctly identify the memory card.
* Set camera on tripod correctly and use the camera to record a couple of still images.
* Playback the still images.
* Describe the use of the menu button.
* Set camera to manual focusing.
* Demonstrate how to change the image resolution.
* Set up a battery to be charged.
* Pack the camera back in its case.
[[category:Media Loan]]

Canon Rebel Proficiency Test

2013-05-08T21:01:54Z

Galloa: /* WRITTEN TEST */

SeaLife DC1400 Underwater Camera Operating Guide

2013-05-08T15:27:08Z

Galloa: /* Use the SeaLife Flash Accessories to enhance color and brightness */

'''THIS CAMERA IS RESTRICTED.''' Proficiency is gained through a workshop. Workshop participants must read this operating guide and the [[SeaLife Underwater Light and Flash Operating Guide]] and bring the written [[SeaLife DC1400 Underwater Camera Proficiency Test|proficiency test]] answers to the workshop. In addition to reading this operating guide and attending the workshop, it is recommended that you download and read the [http://www.evergreen.edu/medialoan/docs/manual_sealife_dc410.pdf SeaLife DC410 Manual PDF]. ''You are 100% financially responsible for the equipment you check out from Media Loan.''

=== Warnings and Cautions ===
==== Warnings ====
Continued use under the following conditions may cause fire or electric shock. Return to Media Loan for repair service if not working or damaged.
* If foreign objects or water have entered the camera, turn the power off and remove the battery.
* If the camera has fallen or its case has been damaged, turn the power off and remove the battery.
* Do not use the camera in areas near water, rain, snow, high humidity, sand, dirt or combustible gas* unless it is properly sealed in the waterproof housing provided.
==== Cautions ====
* Do not fire the flash close to anyone’s eyes.
* Do not subject the LCD monitor to impact.
* A camera is a precision instrument. Do not drop it, strike it or use excessive force when handling the camera.
* Do not remove the battery immediately after long period of continuous use.
* Do not wrap the camera or place it in cloth or blankets.
*Do not leave the camera in places where the temperature may rise significantly, such as inside a car.
* Before you move the camera, disconnect cords and cables.

=== Camera Parts & LCD Screens ===
<gallery>
File:Sealife-01-parts.png|Camera Parts
File:Sealife-02-lcd-display.png|LCD Display
File:Sealife-03-lcd-disply.png|LCD Display
File:Sealife-04-lcd-disply.png|LCD Display
File:Sealife-05-lcd-disply.png|LCD Display
</gallery>

=== Battery ===
<gallery>
File:Sealife-06a-battery.png|Insert Battery
File:Sealife-07-battery.png|Charge Battery
</gallery>

==== Notes on Battery Usage ====
* Extremely cold environments can shorten the battery life and reduce camera performance.
* When you are using a new rechargeable battery or a rechargeable battery that has not been used for an extended period of time, it may affect the number of images that can be captured. Therefore, to maximize its performance and lifetime, we recommend that you fully charge the battery and discharge it for at least one complete cycle before use.
* The battery and/or camera may feel warm after a long period of continuous use of the camera or the flash. This is normal and not a malfunction.
* Always keep the battery terminals clean.
* To prevent short-circuiting or fire, keep the battery away from other metal objects when carrying or storing.

=== SDHC Card ===
Each Media Loan SeaLife camera comes with a 32G SDHC Class 10 card. Please remove your images and format the card before returning to Media Loan. Replacement cost for the SDHC card is a flat $50 fine plus the $15 service fee.
'''Please Note:''' To prevent damaging the SDHC memory card, be sure to turn off the power when inserting or removing. If inserting or removing the SDHC memory card with the power on, the camera will automatically turn off.
<gallery>
File:Sealife-06b-memcard.png|Insert Memory Card
</gallery>

=== Speed Scrolling and Menu Navigation ===
There are two ways to navigate the menus:
==== Speed scrolling ====
When the Menu is open, use the Zoom lever to scroll through the menus and the shutter button to set the camera. This is how you adjust the camera settings when the camera is inside the underwater housing.
# Press the Menu button.
# Turn the zoom lever right to scroll down or right through the menu.
# Turn the zoom lever left to scroll up or left through the menu.
# The Shutter button functions like the Set button when the Menu is open. Press the Shutter button to confirm the setting.
==== Navigation button scrolling ====
This is the traditional method for scrolling through the menu. When the Menu is open, use the Nav button to scroll through the menus and press the Set button to confirm your selection. You can use traditional Nav button scrolling or Speed Scrolling when the camera is NOT inside the underwater housing.
# Press the Menu button.
# Use the Nav button to move up, down, left and right through the menus.
# Press the Set button to confirm the setting. 
'''VERY IMPORTANT:'''
* Whenever the operating guide refers to '''^''' / '''v''' / '''<''' / '''>''', you can use the zoom lever or navigation button.
* Whenever the operating guide refers to the SET button, you can use the Shutter or Set button.

=== Formatting the Memory Card or Internal Memory ===
This utility formats the internal memory (or memory card) and erases all stored images and data.
# Press the MENU button.
# Select '''Setup''' at the end of the menu with the '''^''' / '''v''' buttons and push the SET button.
# Select '''Format''' with the '''^''' / '''v''' buttons, then press the SET button.
# Select '''Yes''' with the '''<''' / '''>''' buttons, and press the SET button.
##To cancel formatting, select '''No''' and press the SET button.
# To exit from the '''Setup''' menu, press the Menu button.

=== Capture Mode ===
==== Capturing Images (Taking Pictures) ====
Media Loan's Sealife camera is equipped with a 3” full color LCD monitor to help you compose images, playback recorded images/video clips or adjust menu settings.
# Press the ON/OFF button to turn the power on.
# Press the MODE button and set the camera to Capture mode (not Video mode).
# Compose your image in the LCD monitor.
## Turn the zoom lever right to zoom in on the subject, and enlarge the subject on the LCD monitor.
## Turn the zoom lever left to zoom out on the subject, and provide a wider angle image.
# Press the shutter button.
# Pressing the shutter button down halfway automatically focuses and adjusts the exposure, and pressing the shutter button down fully captures the images.
## The focus area frame turns green when the camera is in focus and the exposure is calculated.
## When the focus or exposure is not suitable, the frame of the focus area turns red.
'''Please Note:'''
* Avoid using zoom while underwater to take pictures of subjects at far away distances. For best underwater pictures, keep your subjects within
2 m / 6 ft shooting distance.
* If the focus area frame is red, the light conditions or contrast may be too low. Try again until focus frame is green, or try focussing on a subject with higher contrast located at equal distance to the shooting subject.
* The Flash icon on the LCD display flashes on and off when the flash is charging. When the flash icon is solid, the camera is ready.

==== Setting the Focus ====
The camera uses an auto focus lens system. You can select among the six focus settings described below. Press the flower icon button and the '''<''' / '''>''' buttons to select the desired focus mode.
<gallery>
File:Sealife-08-focus.png|Focus Modes
</gallery>

==== About Easy Set-up Mode ====
The Easy Set-up mode is a fast and easy way to set the camera for underwater or land photography. Select Easy Set-up option located in the capture menu. Then, select the best choice from a series of options depending on the shooting condition and the accessories you are using.
<gallery>
File:Sealife-09-easy-setup.png|Easy Setup
</gallery>

==== Setting the Scene Mode ====
“Scene modes” are pre-programmed camera settings to automatically give you the best picture possible under specific shooting conditions. You can use
the Easy Set-up mode described on the previous page, or select among the following 33 scene modes.
# Press the MENU button and select Scene Mode using the down button (or zoom lever) and push the SET (or shutter button).
# Select the desired scene mode with the '''^''' / '''v''' / '''<''' / '''>''' buttons (or zoom lever), and press the SET button (or shutter button).
# Compose the image and press the shutter button.
<gallery>
File:Sealife-10-escene-mode.png|Scene Mode
File:Sealife-11-escene-mode.png|Scene Mode
File:Sealife-12-escene-mode.png|Scene Mode
</gallery>

==== About External Flash and External Light Modes ====
[[File:Sealife-13-ext-light-mode.png|thumbnail|left|External Lights]]
If you are using the SeaLife Digital Pro Flash and/or Photo-Video Light accessories (supplied with Media Loan's SeaLife cameras), set the camera to one of the following Scene modes:
* Ext Flash Auto or Ext Flash Manual modes
** '''When using the Digital Pro Flash, but NOT the Photo-Video Light,''' set the Scene mode to Ext Flash Auto. The camera automatically adjusts the image exposure and white balance resulting in sharp, colorful underwater pictures. The camera is preprogrammed to account for the additional flash power resulting in optimal image exposure and brightness. The camera’s flash will always fire, which automatically triggers the Digital Pro Flash through the optical cable connection.
** '''For advanced underwater photographers who want to manually control the aperture and shutter speed,''' set the scene mode to Ext Flash MNL. Refer to the Digital Pro Flash instruction manual for more details on connecting and operating the flash.
* Ext Light mode.
** '''When using the Photo-Video Light,''' set the Scene mode to Ext Light. The camera automatically adjusts the image exposure and white balance resulting in sharp, colorful underwater pictures and video. The camera’s default setting is set to Flash Off, which is recommended to prevent backscatter. Refer to the Photo-video instruction manual for more details on connecting and operating the light.
* Ext Flash + Light mode.
** '''When using one Digital Pro Flash in combination with one Photo-Video Light''' (as supplied by Media Loan), set the Scene mode to Ext Flash+Light. This mode functions just like Ext Flash Auto mode, but uses a different white balance for video mode.

==== Exposure adjustment when the camera is in Ext Flash Mode: ====
<gallery>
File:Sealife-14-exp-adjust-ext-flash-mode.png
</gallery>

==== About Dive and Snorkel Modes ====
The Dive and Snorkel Scene Modes are used to capture underwater pictures and video when NOT using the optional external flash accessory. Dive mode is ideal for scuba diving below 25ft/8m depth. Snorkel mode is ideal for underwater pictures above 25ft/8m depth. The camera will make color corrections to compensate for the loss of red colors typical in underwater photography.
===== To set DIVE mode: =====
# Press the MENU button.
# Select [Scene mode] with the '''^''' / '''v''' buttons (or zoom lever) and press the SET (or Shutter) button.
# Select DIVE mode with the '''^''' / '''v''' buttons (or zoom lever) and press SET (or Shutter) button.

===== To set SNORKEL mode: =====
# Press the MENU button.
# Select [Scene mode] with the '''^''' / '''v''' buttons (or Zoom lever) and press the SET (or Shutter) button.
# Select SNORKEL mode with the '''^''' / '''v''' buttons (or Zoom lever) and press SET (or Shutter) button.
 

In Dive and Snorkel modes, you can fine-tune the color correction depending on the water color and depth. These color correction options are located in the White Balance Menu. The default white balance setting for Dive mode is Blue Water > 25ft/8m. The default white balance setting for Snorkel mode is
Blue Water < 25ft/8m. To select Dive or Snorkel modes, follow the Easy Setup mode described on page 25. You can also set the camera to Dive or Snorkel modes under the Scene mode menu.

===== Underwater white Balance settings =====
* '''BluWtr<25ft''' (Blue Water less than 25ft depth). This mode is ideal for snorkeling or shallow diving in “blue” water.
* '''BluWtr>25ft''' (Blue Water greater than 25ft depth). This mode is ideal fordeeper diving in “blue” water.
* '''GrnWtr<25ft''' (Green Water less than 25ft depth). This mode is ideal for snorkeling or shallow diving in “greener” water with higher algae content.
* '''GrnWtr>25ft''' (Green Water greater than 25ft depth). This mode is ideal for deeper diving in “greener” water with higher algae content. 
 

'''To change the color correction (White Balance):'''
# Press the MENU button.
# Select [White Balance] with the '''^''' / '''v''' buttons (or Zoom lever) and press the SET (or Shutter) button.
# Select between BluWtr<25ft, BluWtr>25ft, GrnWtr<25ft or GrnWtr>25ft with the '''^''' / '''v''' buttons (or Zoom lever) depending on your type of water conditions and press SET (or Shutter) button.
 
<gallery>
File:Sealife-15-exp-adjust-ext-flash-mode.png
</gallery>
'''Please Note''':
* The underwater color correction feature should only be used for nonflash photography.
* When the camera is in Dive and Snorkel mode, the scene displayed on the LCD display will appear red in color when you are on land. This is normal and will appear different when you are underwater.
* The underwater color correction feature will not work during night time diving or depths greater than 50ft / 15m depending on the amount of available light.
* For best UW pictures, keep the camera’s flash OFF when in Dive or Snorkel mode. If light conditions are too dark, we recommend using the SeaLife Digital Pro Flash.

==== About Spy Mode ====
This mode is used to capture continuous images at a preselected time interval. It is also useful for taking a series of pictures without being discovered by the subject, like Garden Eels or a bird’s nest with an egg hatching. A compact tripod accessory is helpful to keep the camera aimed at the subject. Spy mode is not available when recording video.
# Press the MENU button, and select '''Capture mode''' with the '''^''' / '''v''' buttons (or Zoom lever), and press the SET (or Shutter) button.
# Select [Spy] with the'''<''' / '''>''' buttons (or Zoom lever), and press the SET (or Shutter) button.
# Select the desired time interval with the '''<''' / '''>''' buttons (or Zoom lever) and press the SET (or Shutter) button.
# Press the MENU button to exit the menu.
# Aim the camera at the desired subject or scene.
# Press the shutter button and the camera will start capturing images at the pre-selected set time interval.
# The LCD display will now turn off to save battery power. The camera will continue to take images at the preselected time interval, until:
## Pressing the shutter button again.
## The memory is full.
## The battery is empty.

=== HD Video Mode ===
==== Recording HD Video Clips ====
This mode allows you to record continuous video with sound in 1280x720 (720p HD), 640x480 (VGA) or 320x240 (QVGA) pixel formats.
# Press the Mode button or '''UW housing Video button''' to select Video mode.
# Compose the image.
# Press the shutter button.
## The recording of the video clip will start.
## Pressing the shutter button one more time will end the recording of the video clip.
## The recording time depends on the storage size and the subject of the image to be recorded.
## The zoom function cannot be used during video recording.The camera will auto focus at the subject when pushing the shutter button to start recording. Once video recording has started, the auto focus is locked.

==== Playing Back Video Clips ====
You can play back recorded video clips on the camera.
# Press the PLAY button.
## The last image appears on the screen.
# Select the desired video clip with the '''<''' / '''>''' buttons (or Zoom lever).
# Press the SET (or Shutter) button to start playing video clip.
## A press of the '''<''' / '''>''' buttons (or Zoom lever) during playback allows fast forward play / fast reverse play.
## To stop video playback, press the ''v'' (or Flash) button. This stops playback and returns to the start of the video clip.
## To pause video playback, press the SET (or Shutter) button. This pauses video playback. To cancel pause, press the SET (or Shutter) button again.

=== Playback Mode ===
==== Playing Back Still Images ====
You can play back the still images on the LCD monitor.
# Press the PLAY button.
##The last image appears on the screen.
# The images can be displayed in forward or reverse sequence with the '''<''' / '''>''' buttons (or Zoom lever).
## To view the previous image, press the '''<''' button (or turn Zoom lever left).
## To view the next image, press the '''>''' button (or turn Zoom lever right).
# Push the shutter button to enlarge the center of the image. Each push of the shutter button increases the zoom by one step: 2X - 3X - 4X and back to 1X normal view.
# Use the '''<''' / '''>''' / '''^''' / '''v''' buttons to see other enlarged parts of the picture. ''This function is not available when the camera is sealed inside the underwater housing.''

==== Erasing Images and Video Clips in Playback Mode ====
# Press the PLAY button.
## The last image or video clip will be displayed on the screen.
# Select the image / video you want to erase with the '''<''' / '''>''' buttons (or Zoom lever).
# Press the MENU button.
# Select [Delete] with the '''<''' / '''>''' buttons (or Zoom lever), and press the SET (or Shutter) button.
## '''Single:''' Erases the selected image or video.
## '''All:''' Erases all of the images / videos except for the protected files.
# Select '''Yes''' with the '''<''' / '''>''' buttons (or Zoom lever), and press the SET (or Shutter) button.
## To not erase, select '''No''', and press the SET (or Shutter) button.

=== Transfer to Computer ===
The camera connects to your computer with the usb cable.
<gallery>
File:Sealife-16-transfer-to-computer.png
</gallery>

=== Menu Options ===
==== Capture Menu ====
This menu is for the basic settings to be used when capturing still images.
# Press the Mode button and select Camera icon.
# Press the MENU button to enter the capture menu.
# Select the desired option item with the '''^''' / '''v''' buttons (or zoom lever), and press the SET (or Shutter) button to enter its respective menu.
# Select the desired setting with the '''<''' / '''>''' buttons (or Zoom lever), and press the SET (or Shutter) button.
# To exit from the menu, press the MENU button.

'''Quality'''
*This sets the quality (compression) at which the image is captured. A higher quality setting will result in less compression and larger image files. Fine, Standard, Economy.
'''Sharpness'''
* This sets the sharpness of the image that will be captured: Hard / Standard / Soft
'''Color'''
* This sets the color of the image that will be captured: Standard / Vivid / Sepia / (B & W) / Red / Green / Blue / Yellow / Purple
'''Saturation'''
* This sets the saturation of the image that will be captured: High / Standard / Low
'''Metering'''
*This sets the metering method for calculating the exposure.
** '''Center:''' Averages the light metered from the entire frame, but gives greater weight to the subject matter at the center. This is the recommended setting for most pictures.
** '''Spot:''' A very small portion of the center of the screen is measured to calculate the correct exposure.
** '''Average:''' The entire area of the screen is measured, and the exposure is calculated.
'''Image Stab.'''
*This function minimizes the motion blur caused by hand “shake” or movement when you capture an image. It is recommended to keep the image stabilization: On / Off
** OFF to save battery power unless taking pictures in low light without flash.

===== Size =====
* This sets the size of the image that will be captured.
** '''14M''' – 4288 x 3216
** '''8M''' – 3264 x 2448
** '''4M''' – 2304 x 1728
** '''2M''' – 1600 x 1200
** '''VGA''' – 640 x 480

===== ISO =====
* This sets the sensitivity for capturing images. When the sensitivity is raised (and the ISO figure is increased), photography will become possible even in dark locations, but the more pixelated (grainier) the image will appear.
** Auto / 64 / 100 / 200 / 400 / 800 / 3200

===== White Balance =====
*This sets the white balance for a variety of lighting conditions and permits images to be captured that approach the conditions that are seen by the human eye.
** '''Auto'''
** '''BluWtr<25ft '''(Blue Water less than 25ft depth). This mode is ideal for shallow diving in “blue” water.
** '''BluWtr>25ft''' (Blue Water greater than 25ft depth). This mode is ideal for deeper diving in “blue” water.
** '''GrnWtr<25ft''' (Green Water less than 25ft depth). This mode is ideal for snorkeling or shallow diving in “greener” water with higher algae content.
** '''GrnWtr>25ft''' (Green Water greater than 25ft depth). This mode is ideal for deeper diving in “greener” water with higher algae content.
** '''Ext Flash WB.''' Use this white balance setting for underwater pictures when shooting with the external flash accessory
** Incandescent
** Fluorescent 1
** Fluorescent 2
** Daylight
** Cloudy
** Manual

===== Setting Manual White Balance (WB) =====
*The surrounding light may affect the color balance of your pictures or videos. For example, if a halogen light illuminates a white wall, the wall will have a yellow cast, while in fact it should be white. Underwater pictures tend to be more blue, because the water filters out red colors. The camera’s white balance menu includes settings that compensate for different lighting conditions found on land or underwater. You can also manually set the camera’s white balance if the options found in the white balance menu are not suitable. A digital camera needs to find a reference point which represents white. It will then calculate all the other colors based on this white point. 
*'''To manually set the camera’s white balance,'''
** Select '''Manual WB''' located at the bottom of the White Balance menu
** Select “New WB” and press the Set or Shutter button
** Turn the Zoom lever and select “Yes”
** Hold the white slate (sold separately at your local dive dealer) about 10in /25cm in front of the camera lens, so it fills up the picture frame displayed on the LCD.
** Hold the white slate at a slight angle in the direction of the light source or sun.
** Press the SET (or Shutter) button to execute the Manual WB
** Do not use Manual WB with flash photography
** Reset Manual WB when changing depths or light conditions
** Select “Use Data” if you want to use the last Manual WB setting saved to the camera
** Push and hold the Menu button for about 4 seconds, as a shortcut to access the Manual white balance setting screen

==== Video Menu ====
This menu is for the basic settings to be used when recording video clips.
#Press the MODE (video) button and set the camera.
#Press the MENU button to enter the Video menu.
#Select the desired option item with the p / q buttons (or Zoom lever), and press the SET (or Shutter) button to enter its respective menu
#Select the desired setting with the t / u buttons (or Zoom lever), and press the SET (or Shutter) button
#To exit from the menu, press the MENU button
* '''White Balance'''
** See above.
* '''Size'''
**This sets the size of the video clip that will be captured.
*** '''HD''' – 1280 x 720p
*** '''VGA''' – 640 x 480
*** '''Q-VGA''' – 320 x 240
* '''Quality'''
**This sets the quality (compression) at which the video clip is captured: Fine, Standard.
* '''Color'''
**This sets the color of the video clip that will be captured: Standard / Vivid / Sepia / B&W / Red / Green / Blue / Yellow / Purple
* '''Audio'''
** This sets whether or not to record audio at the time of video recording: On / Off
* '''Digital Zoom'''
**We recommend that you do not use Digital Zoom.

=== Underwater Housing Instructions ===
''Important:'' Please carefully read and understand these instructions before using camera and housing underwater. 

'''SeaLife DC1400 Underwater Housing:'''
* Depth rated and tested to 200 ft. (60m).
* Fully rubber armored for added shock protection.
* Fully-multi coated optical glass lens port for high light transmission.
* Accessory mount for attaching SeaLife Digital Pro Flash and/or Photo-Video Light accessories. (Supplied with this camera.)
* Large shutter button and wide spread buttons for easy control with dive gloves.

==== Important Notes on Waterproof Function and Waterproof Housing ====
* The inner camera is not waterproof or shock protected. Seal the camera inside the waterproof housing in areas of water, rain, snow, high humidity, sand, dirt or combustible gas*.
* '''Do not exceed the depth rating of 60m (200ft.)''' or the housing may become damaged and leak.
* Do not use underwater housing if O-ring or O-ring contact surfaces are damaged.
* Make sure O-ring is completely seated into O-ring groove before sealing housing.
* Carefully follow O-ring removal and installation instructions.
* Carefully close lid and latch to seal housing and make sure there are no obstructions that prevent housing from closing or sealing properly.
* Soak and rinse waterproof housing in fresh water for about 2 minutes after underwater use or if the housing becomes dirty.
** Press each button several times to clean out any saltwater, sand or dirt that may be trapped under the buttons.
** Use clean, soft cloth to dry housing.
** Store camera and housing only after careful cleaning and when totally dry.
* Do not let any moisture or dirt get inside housing when opening. This may result in damage to the inner camera.
* Make sure that you and the waterproof housing are completely dry before opening the waterproof door or changing the batteries or the SD memory card.
* Avoid opening housing in wet, sandy or humid environments. It is recommended to open and load the housing in dry cool air, such as inside an air conditioned room. This will prevent water or humidity from being trapped inside the housing, which may cause fogging to occur or damage the inner camera.
* Avoid getting sunscreen or suntan oil on the camera as it may cause discoloration of the surface. If any oil gets on the camera, wash it off immediately with warm water.
* The waterproof function does not apply to the camera’s accessories.
* The camera may sink if dropped in water, so be sure to attach the strap to your wrist or buoyancy control device (BCD) when using the camera in or near water.
* Store housing at room temperature in a clean and dry place.
* Do not expose housing to direct sunlight for prolonged periods of time.
* Do not store housing in extreme high temperatures, such as the trunk of your car.
* Keep the housing unlatched when storing for more than 3 months.

<gallery>
File:Sealife-17-underwater-housing.png|Underwater Housing
File:Sealife-18-housing-view.png|Underwater Housing
</gallery>

==== Maintaining a waterproof seal ====
Every SeaLife housing is tested for quality and a waterproof seal. It is your responsibility to properly care for the O-ring and O-ring contact surfaces to maintain a waterproof seal. Carefully follow these important O-ring care instructions. Not following these care instructions may cause the waterproof
housing to leak, damaging the camera. '''You are 100% financially responsible for the equipment you check out to Media Loan.'''
[[File:Sealife-19a-waterproof-seal.png|thumbnail|right|Seal]]
[[File:Sealife-19b-waterproof-seal.png|thumbnail|Seal]]
[[File:Sealife-19c-waterproof-seal.png|thumbnail|right|Seal]]
# Carefully inspect O-ring and O-ring contact surfaces for damage (cuts, scratches, tears, cracks, dents and any other imperfections.) before every use. Rub finger along O-ring and O-ring contact surfaces to inspect for damage. Replace O-ring or return waterproof housing to Media Loan if the O-ring or O-ring contact surfaces are damaged. '''Do not use underwater housing if O-ring or O-ring contact surfaces are damaged.'''
# Carefully inspect and clean O-ring and O-ring contact surfaces for sand, hair and other debris before every use. Clean o-ring and o-ring contact surfaces with cleaning brush provided.
# Make sure O-ring is completely seated into O-ring groove before sealing housing. O-ring must not be twisted when seated in the o-ring groove.
'''After each use underwater:'''
# Soak sealed housing in fresh water for about 15 minutes. Most dive boats offer special fresh water buckets specifically for underwater photo equipment. '''DO NOT put camera housing in fresh water designed or other dive equipment,''' like dive mask, because that water may contain detergents which are harmful to the housing.
##Press all the control buttons several times while waterproof housing is soaking to clean out any salt water, sand or dirt that has accumulated during usage.
#Use clean, soft cloth to dry housing. Store camera and housing only after careful cleaning and when totally dry.
===== Quick waterproof test =====
Before you depart on your dive trip:
* Place the sealed housing without camera inside in a tub of cold water for about one hour.
* Place a soft weight on top of the housing to keep it submerged.
* Carefully dry housing before opening it to inspect for a leaks. If the housing leaks, carefully inspect O-ring or replace O-ring as described above.
* Repeat the above test. If housing still leaks contact Media Loan and return for service.

==== How To Install And Remove O-ring ====
To Install O-ring:
'''Important:''' The O-ring and O-ring groove must be completely clean before installing O-ring.
* '''Step 1:''' Lay the O-ring over the O-ring groove making sure the O-ring is not twisted. Orient the O-ring with the more rounded corners on the hinge side of the housing.
* '''Step 2:''' Push the O-ring down into the groove. The O-ring should be evenly seated in the groove.
* '''Step 3:''' Carefully close housing to firmly seat O-ring and open housing again to inspect that O-ring is completely seated into groove. Do NOT grease the O-ring.
 

To Remove O-ring:
* '''Step 1:''' Push O-ring along groove until it lifts.
* '''Step 2:''' Gently lift and remove O-ring from its groove.

<gallery>
File:Sealife-20a-oring.png|Install O-ring Step 1
File:Sealife-20b-oring.png|Install O-ring Step 2
File:Sealife-20c-oring.png|Remove O-ring Step 1
File:Sealife-20d-oring.png|Remove O-ring Step 2
</gallery>

==== How To Open And Close Waterproof Housing ====
* '''Step 1:''' Push in locking tab to open latch.
* '''Step 2:''' Open latch all the way to lift and release latch from housing.
* '''Step 3:''' Open Housing as shown so inner camera does not fall out.
* '''Step 4:''' Close housing and push down on latch as shown to firmly seat latch into housing.
* '''Step 5:''' Push down latch until locking tab clicks into place.

<gallery>
File:Sealife-22a-close-housing.png|Step 1
File:Sealife-22b-close-housing.png|Step 2
File:Sealife-23a-close-housing.png|Step 3
File:Sealife-23b-close-housing.png|Step 4
File:Sealife-23c-close-housing.png|Step 5
</gallery>

==== Installing the Flash Link optical cable adapter ====
The Flash Link adapter included with your camera connects the Flash Link optical cable to the DC1400 camera housing. This adapter is only needed when using the SeaLife external flash accessory.
* '''Step 1:''' Push the optical cable into one of the grooves so it’s locked firmly into position. The end of the cable must be directed at the camera’s flash but should not stick out beyond the adapter. The adapter has two grooves, so you can add another cable when using two flashes.
* '''Step 2:''' Attach the Flash Link adapter around the lens and push down until it locks firmly into place. There are two small locking mechanisms located on the outer edge of the adapter that should lock in to the camera housing. Make sure the adapter is oriented so it is aligned with the recessed flash window.
<gallery>
File:Sealife-24-flsah-link.png|Flash Link
File:Sealife-25-flsah-link.png|Flash Link
</gallery>
'''Please Note:'''
* If using two Flash Links, attach other cable in second groove and follow above instructions.
* Secure optical cable to Flash arm using Velcro® ties (included External Flash accessory).
* Refer to Flash Link optical cable instruction manual for more details and troubleshooting tips.

==== How to set-up the Waterproof Housing ====
===== Set up camera =====
# Insert fully charged lithium battery into camera.
# Clean camera lens with dry, clean cotton swab.
# Remove camera strap since this will prevent the camera from correctly seating itself inside the housing.
# Use the Easy Set-Up, located in the Capture menu, to guide you through the correct land or underwater camera settings.
# You can also manually set camera to Sea or Snorkel mode (when not using External Flash accessory) or External Flash mode (If using External Flash accessory).
===== Set up housing =====
''Opening and loading of the housing should be done in a dry environment such as in an air-conditioned room to prevent trapping moist air in the housing which can cause the housing to fog while underwater.''
# Open the housing by pushing in small locking tab and lift latch up. Do not extend housing lid beyond its stop point or damage may occur to the hinge area.
# Carefully inspect O-ring for damage and make sure O-ring is firmly seated in its groove. If O-ring is damaged and requires replacement, contact your local authorized SeaLife dealer.
# Clean the housing glass lens port using clean, dry cotton cloth. It is recommended to apply anti-fog solution to the inside surface of the housing lens port.
# Carefully insert camera into housing. Make sure camera is clean and dry.
# Insert one Moisture Muncher anti-fog (item #SL911) desicant capsules into special slot inside housing. As the desiccant absorbs moist air, it turns from blue to light pink. Replace desiccant capsule when color changes to light pink.
# Carefully clean O-ring and O-ring contact surfaces with cleaning brush provided. O-ring must not be wet when sealing housing, allow these areas to dry. ''O-ring must be absolutely clean of all hair, sand or other small particles.''
# Do not allow any water droplets to get inside housing. This may cause the inside of the housing to fog.
# Close housing lid tightly. Make sure there are no obstructions that prevent the housing from closing. Make sure lid is tightly pressed into housing.
# Close housing latch. Make sure the lid is pressed evenly against the housing body look for obvious gaps which indicates something is trapped. The housing may leak if the lid is not evenly against the housing when closed. It is normal to see a small even gap between the housing lid and body.
# Avoid exposing housing to direct sunlight for prolonged periods of time. This may promote internal fogging.
===== Test camera and housing =====
# Press the small power button on the top of the housing to turn camera power on.
# Press the large shutter button on the outside of the housing to take a test picture.
# The power or shutter button should have a smooth action and return to its original resting position after pressing. It is normal to feel some resistance when pressing the power and shutter button. If buttons do not return to their normal position, soak the sealed housing in fresh water for a few minutes and press the buttons several times.
# Press the power button to turn camera power off. It is recommended to leave camera power off until you’re ready to use camera to preserve battery power.
===== Before Entering Water =====
# Most dive operations will have a water tub for underwater cameras. Use this tub to test the camera for leaks before entering the water.
# Hold housing underwater for about 15 seconds with the lens pointing upwards. Lift the housing out of the water keeping the lens pointing up and look at LCD display window for any water drops.
# If no leaks are detected, repeat step 2 but hold the camera underwater for about 2 minutes and inspect.
# If you detect any leaks, carefully dry and open the housing and inspect the O-ring seal.
# If no water tub is available, perform the above test immediately after entering the water.

==== Using and cleaning the underwater housing and camera ====
'''Entering the water with waterproof housing'''
'''Important:''' Always obey dive safety rules as a priority.
* Do not jump into the water with the housing in your hand. Have someone hand it to you after you have entered the water.
'''After using housing underwate'''r
# Before entering dive boat, hand the housing to someone on the boat.
# Make sure the sealed housing is placed in a fresh water tub available on most dive boats. Press each button a few times to rinse out the salt water trapped under the buttons. This will clean the salt water from the housing and prevents the salt water from drying on the housing and O-ring. Never let water dry on the camera housing. Salt crystals can damage the O-ring, lens and attract moisture. Dry housing with clean soft towel after removing from fresh water tub.
# Do not expose camera and housing to direct sunlight – keep in a shaded area or under a dry towel.
# It is not recommended to remove camera from housing while on the dive boat. Allowing humid air to enter the housing may cause fogging.
# If you must open the housing while on the dive boat, make sure you and the housing are perfectly dry before opening the housing. Do not allow the inside of the housing or the camera to get wet.
'''Cleaning housing after use'''
# The sealed housing must be thoroughly cleaned with fresh water and dry before opening.
# Before opening housing, everything, including your hands, head and surrounding area must be totally dry. Have a dry towel handy.
# After opening the housing, clean the camera, O-ring area and all inside and outside parts with a clean, dry cotton cloth.

=== Great Underwater Pictures Made Easy ===
Taking underwater pictures is much different that taking land pictures. Here are the most important tips to taking great pictures underwater:
==== Crystal Clear Water ====
Crystal Clear water is essential for good underwater pictures. Tiny particles floating in the water cause low visibility and poor picture quality. Avoid stirring up the sandy bottom with your fins. These floating particles cause small spots to appear in your picture, known as “backscatter.” Try to limit your shooting distance to 1/10 of the water visibility. For example, if the visibility is 60 feet (18 m), you should keep your shooting distance to within 6 feet (1.8m). Using the SeaLife Digital Pro Flash will reduce the “backscatter” effect. If you are not using the external flash accessory, keep the camera’s onboard flash turned OFF.
==== Stay within the ideal shooting distance of 2 to 6 feet ====
The ideal shooting distance is between 2 to 6 feet (0.6 to 1.8 meters). This distance will result in detailed, colorful pictures. Remember that light does not travel very far underwater, so the closer you are to your subject the more colorful the pictures will be. For best most colorful pictures, we advise using the optional SeaLife Digital Pro Flash.
==== Move calmly and control your buoyancy before taking a picture ====
It is very hard to take good pictures when you are moving. Look around for great picture opportunities. First, position yourself at the best angle and neutralize your buoyancy. Second, use the LCD monitor to perfectly frame your subject, check your shooting distance and keep the camera steady. Third, be calm and patient: Sometimes you have to wait a little bit so the fish that were frightened away, come back. Don’t chase the fish, let the fish come to you. Always be in control of your buoyancy before taking pictures and observe all safe‑diving rules.
==== Shoot many pictures of the same subject - If you don’t like it, delete it - later ====
One of the great advantages of digital cameras is that you can review and delete pictures later, so shoot several pictures of the same subject. One of the best ways to learn underwater photography is from your good pictures and bad pictures.
==== Use the SeaLife Flash Accessories to enhance color and brightness ====
Water filters out light and red/yellow colors resulting in darker, blue images. The SeaLife DC1400 Dive and Snorkel mode setting will correct for lost colors, but is only effective to a depth of about 50ft/15m, depending available sunlight and water visibility. The most effective way to compensate for lost colors is by using artificial light, like the SeaLife Digital Pro Flash. The Flash easily mounts to the bottom of the housing. The flexible arm allows you to direct the flash at the subject. Even two flashes can be mounted onto the housing for an evenly illuminated and shadow-free image. This system blocks the built-in flash and prevents backscatter. The flexible flash arms allow quick adjustments of the flash. 

Visit the SeaLife website for updated tips an advice. Any updates to the manual or additional tips and advice can be found on the SeaLife website at www.sealife-cameras.com. This operating guide adapted from the ''SeaLife DC1400 Underwater Camera Instruction Manual''. Go to [http://www.sealife-cameras.com/service/manuals.html www.sealife-cameras.com/service/manuals.html] for English, FRANÇAIS, DEUTSCH, ITALIANO, ESPAÑOL and NEDERLANDS versions.
[[Category:Lab Stores]]

SeaLife DC1400 Underwater Camera Operating Guide

2013-05-08T15:26:33Z

Galloa: /* Use the SeaLife Flash Accessories to enhance color and brightness */

SeaLife DC1400 Underwater Camera Proficiency Test

2013-05-08T15:24:34Z

Galloa: /* PROFICIENCY QUESTIONS WRITTEN TEST */

===PROFICIENCY QUESTIONS WRITTEN TEST===
Answers may be found in the [[SeaLife DC1400 Underwater Camera Operating Guide]] and [[SeaLife Underwater Light and Flash Operating Guide]].
Complete this written portion and bring it with you to workshop. Call 867-6253 if you have any questions.
Good luck!
# Describe how to set the Scene Mode when you are using both the Digital Pro Flash and the Pro-Video Light.
# What underwater white balance setting should you use in shallow water with a lot of algae content?
# Describe how you would record HD video.
# Describe how you would format the memory card.
# Describe how you would maintain a waterproof seal on the camera housing.
# What is an o-ring and how would you install and remove one?
# How would you set up the housing?
# What should you do before entering the water?
# Describe how to connect the flash link optical cable.
# Create checklist from operating guide and bring to workshop.
# What is the extent of you responsibility when checking this or any other equipment out from Media Loan?

[[Category:Lab Stores]]

SeaLife Underwater Light and Flash Operating Guide

2013-05-08T15:24:03Z

Galloa: /* Troubleshooting Guide */

Workshop participants must read this operating guide and the [[SeaLife DC1400 Underwater Camera Operating Guide]] and bring the written [[SeaLife DC1400 Underwater Camera Proficiency Test|proficiency test]] answers to the workshop. In addition to reading this operating guide and attending the workshop, it is recommended that you download and read the [http://www.evergreen.edu/medialoan/docs/manual_sealife_dc410.pdf SeaLife DC410 Manual PDF]. Optional reading: [http://www.evergreen.edu/medialoan/docs/manual_sealife_ProFlash.pdf SeaLife Underwater Photo-Video Light Instruction Manual] and [http://www.evergreen.edu/medialoan/docs/manual_sealife_PVLight.pdf SeaLife Digital Pro Flash Instruction Manual]. ''You are 100% financially responsible for the equipment you check out from Media Loan.'' 

The deeper you dive, less light penetrates the water. The water filters out red and yellow so everything looks blue. A powerful underwater flash system restores lost colors.
<gallery>
File:Sealife-proflash01-intro.png|With & Without Flash
File:Sealife-proflash12-overexp.png|Overexposed & Properly Exposed
</gallery>

=== Safety Warnings ===
* '''Avoid using light above water for prolonged periods of time.''' The light is designed for underwater use to help displace heat. Turn light off if any parts of the light become hot to the touch.
* '''Always discharge flash''' before opening the waterproof door, by moving the power switch to the “TEST” position, and then to the “OFF” position. This will discharge the high-voltage electricity stored in the flash.
* '''If foreign objects or water has entered the flash,''' discharge and turn off flash. Continued use in this state may cause fire or electrical shock. Contact and return to Media Loan for repairs.
* '''If water has entered the light, immediately turn off power and discontinue use.''' Remove batteries and allow the inside to dry. Contact and return to Media Loan for repairs.
* '''Do not attempt to access the electronic circuitry for any reason.''' The internal electronics uses high-voltage components that may result in severe electrical shock.
* '''The On/Off/Test switch contains a powerful magnet.''' Keep away from compasses and electronics to avoid magnetic interference.
* '''Use new or freshly-charged AA batteries.''' Do not mix old and new batteries together.
* '''Remove batteries from light before transporting, traveling or long periods of storage.'''
* '''Do not expose light to heat or direct sunlight for prolonged periods of time.'''
* '''Observe all SCUBA dive safety rules and control your buoyancy at all times.''' Consult your dive instructor for dive safety questions.

=== All the Pieces ===
<gallery>
File:Sealife-pvl01-contents.png
File:Sealife-pvl02-parts.png
</gallery>

=== Batteries ===
'''Pro-Video Light:'''
* Loading batteries
# Unscrew the battery cap
# Remove the battery holder
# Insert 4 new or freshly charged AA batteries into holder.
# Make sure each battery is installed correctly according to the polarity markings on the battery holder.
# Make sure O-ring and sealing surfaces are perfectly clean and undamaged.
# Screw on battery cap (hand tighten – don’t use tools)

'''Digital Pro Flash:'''
* Insert 4 new or freshly charged AA batteries.
* Open the battery compartment cover and insert batteries according to the polarity markings above the battery compartment.

<gallery>
File:Sealife-proflash03-batteries.png|Pro-Video Light
File:Sealife-pvl03-batteries.png|Digital Pro Flash
</gallery>

=== Preparing your flash ===
[[File:Sealife-proflash02-prep.png|thumbnail|Preparing Digital Pro Flash]]
'''Digital Pro Flash:'''
* Unlock the latch by sliding down the safety lock.
* Lift the latch and open the waterproof door to access the battery compartment, pre-flash setting, and auto mode setting.
'''Important:'''
* Make sure the flash and you are perfectly dry before opening the waterproof door.
* Open the waterproof door with the door pointing down, so any water trapped around the o-ring does not drip inside the flash.

=== Pre Flash ===
'''Digital Pro Flash:''' 

* Set the Pre Flash switch to the “0” position.

'''What is a Pre-flash?''' 

Most digital cameras have one or more pre-flashes to assist in autofocus/auto-exposure setting of the camera. The Pre-Flashes occur before the camera’s primary flash fires. The Pre-Flash Setting switch tells the external flash how many pre-flashes to ignore before firing. For example, if your digital camera has 2 pre-flashes, you would set the Pre-Flash Setting switch to 2. The external flash will now ignore the two pre-flashes and fire on the third primary flash. SeaLife cameras do not have a pre-flash when the camera is in External Flash mode.
<gallery>
File:Sealife-proflash04-batteries.png|Pre-flash Switch
</gallery>

=== Auto mode ===
'''Digital Pro Flash:'''
* Set the Auto mode switch to the “1” position.
'''What is the Auto mode?''' 

Auto mode will automatically control the brightness of the external flash and help you to achieve optimal image exposure. When the external flash fires the light sensor located in the front of the flash will instantly measure the light reflecting from the subject. If it senses too much light, it will quickly stop the flash and prevent the image from being over-exposed. There are 4 possible Auto mode settings. settings. One of the four settings will be best depending on your camera type. The #1 setting will result in slightly less powerful flash brightness and #4 will result in a
more powerful flash brightness.

<gallery>
File:Sealife-proflash05-auto.png|Auto Mode Switch
</gallery>

=== Operating the Light ===
'''Pro-Video Light:'''
# Push and hold the mode button for 1 second to power ON the light.
# Push the mode button to change between the following light modes:
## 100% ➜ 50% ➜ 25% ➜ Blinking ➜ SOS ➜ 100%........
# Push and hold the mode button for 2 seconds to power OFF the light.
<gallery>
File:Sealife-pvl04-operate.png|Operate
</gallery>

=== Maintaining a waterproof seal (Before your dive) ===
'''Pro-Video Light:'''
# The light uses two O-rings to maintain a waterproof seal.
# Every time you open the battery cap make sure the O-rings and sealing surfaces are clean, undamaged and lubricated.
# Dampen a clean cotton cloth and wipe it around the o-ring and o-ring contact surfaces to remove any hair, sand or debris.
# Carefully inspect the o-ring for cuts, tears or other damage. Replace o-rings immediately if damaged.
# Lube O-rings if dry. Apply a small amount of silicone lube on your finger tip and wipe it around the O-rings. Wipe off excess lubricant. The o-ring should appear wet.
<gallery>
File:Sealife-pvl05-seal.png|Pro-Video Light
File:Sealife-proflash06-seal.png|Digital Pro Flash
</gallery>
'''Replacing the O-rings'''
# Use the O-ring Remover tool provided to lift and remove the O-ring.
# Carefully clean O-ring grooves and O-rings before installation
# Install O-rings by stretching and lifting O-ring into the groove. Do not roll the O-ring or allow it to twist.
# Apply a small amount of silicone lube on your finger tip and wipe it around the O-rings. Wipe off excess lubricant. The o-ring should appear wet.
<gallery>
File:Sealife-pvl06-orings.png|Pro-Video Light
</gallery>

'''Digital Pro Flash:'''
* The flash uses an o-ring to maintain a waterproof seal and a gasket to prevent sand and debris from reaching the o-ring. Close and seal the waterproof door. Make sure the O-ring is perfectly clean and undamaged. Carefully close the waterproof door to make sure nothing gets trapped near the o-ring and make sure o-ring slips into position and does not get pinched. Make sure the waterproof door is completely closed. Lock the latch by sliding the safety lock upwards. 

'''Maintaining a waterproof seal''' 

* Every flash is depth tested to ensure a waterproof seal. It is your responsibility to regularly inspect the o-ring and sealing surfaces and maintain this waterproof seal. Always perform these inspection procedures before using underwater.
* '''Removing the O-ring and Gasket'''
# Grab white cable adapter and pull up to unplug the cable from the flash. Do NOT pull on the wire.
# Remove gasket with your fingers.
# Remove O-ring with your fingers
'''Important:''' Do NOT use tools or sharp objects or you may damage the O-ring or Gasket. 

'''Inspecting and Cleaning the O-ring, Gasket and contact surfaces'''
# Carefully inspect the O-ring and Gasket for cuts(A), tears(B). Replace O-ring and Gasket if damaged.
# Carefully inspect O-ring contact surfaces and groove for scratches or other damage. It is normal to see molding “seams” near the hinge and latch area. Contact Media Loan if the contact surfaces or groove are damaged.
# Use a moist, clean cotton cloth to remove hair (C), sand (D), and other debris from O-ring, Gasket, O-ring groove and contact surfaces. Never stretch the O-ring or Gasket. 

'''Installing the O-ring and Gasket'''
# Install clean O-ring into groove. Be careful not to twist O-ring.
# Install clean Gasket, making sure it is completely seated against the waterproof door. The grooved side of the Gasket should sit flat against the waterproof door.
# Plug the cable adapter into the flash. Do NOT use force. Check that the white cable adapter is correctly oriented with the plug.
<gallery>
File:Sealife-proflash14a-oring.png|O-ring & Gasket
File:Sealife-proflash14-oring.png|Remove O-ring & Gasket
File:Sealife-proflash15-oring.png|Inspect & Clean
</gallery>
'''Important'''
# Do not lubricate the O-ring or Gasket.
# Do not exceed operating depth of 200ft/60m.
# Do not open waterproof door in wet environment. You and the flash must be dry before opening the waterproof door.
# Do not expose flash to direct sunlight for prolonged periods of time.

=== Care and Maintenance (After your dive) ===
# After each dive, soak the sealed light in fresh water for about 15 minutes to remove any residual salt, sand and dirt. Never allow the saltwater to dry on the light.
# Push the mode button about 10 times to clean any saltwater or sand trapped under the button.
# Let the water drain out of the two small holes located at the bottom of flexible arm (under the tray)
# Dry off the light with a towel. Make sure you and the light are dry before opening the waterproof battery cap.
# Remove batteries before storing the light.
# Allow light to thoroughly dry before storage.
# Never use any detergents, cleaners, solvents or chemicals to clean the light.
# Insert a Moisture-Muncher capsule inside the battery compartment during storage to help keep the inside dry and free of corrosion or mildew during storage.

=== Attaching light to underwater camera ===
'''Pro-Video Light & Digital Pro Flash:'''
Attach camera (housing) to the flash’s mounting base. Carefully hand-tighten the mounting screw. Do not over tighten!
Important:
* '''Important:''' Only attach the light to cameras/housings with minimum thread depth of 0.250” and using standard 1/4-20 tripod type thread. Never force or over-tighten the screw, or you may damage the housing seal and threads.
# Align the underwater camera to the light’s mounting screw and hand-tighten. Use small screw provided for mounting one light.
# To attach both the video light and the flash, use longer screw.

<gallery>
File:Sealife-proflash07-attach.png|Camera & Flash
File:Sealife-pvl07-attach.png|One - Both
File:Sealife-pvl07a-attached.png|Camera, Light & Flash
</gallery>

=== Connecting Flash Link Optical Cable ===
'''Digital Pro Flash:'''
* The Digital Pro Flash includes the Flash Link optical cable. The optical cable is used to transmit the light from the camera to the light sensor under the external flash head. The external flash will fire when the light sensor detects light coming from the end of the cable. The external flash should come with the optical cable already attached to the flash head, but it is good to know how the cable can be removed and attached.
* '''Connecting Flash Link Optical Cable to the external flash:'''
# Turn the cable locking screw counter-clockwise by about 2 rotations to loosen the clamping effect of the lock. Do not remove the locking screws.
# Insert the optical cable into the hole of the cable lock until the cable stops (make sure cable is pushed up all the way).
# Turn the cable locking screw clockwise to lock the cable into place ('''finger tight only''' – ''do not over tighten'').

* '''Connecting Flash Link Optical Cable to SeaLife cameras:'''
# Attach the other end of the optical cable to the camera adapter included with your SeaLife camera.
# Push the optical cable into one of the grooves so it’s locked firmly into position. The end of the cable must be directed at the camera’s flash but should not stick out beyond the adapter. The adapter has two grooves, so you can add another cable when using two flashes.
# Attach the Flash Link adapter around the lens and push down until it locks firmly into place. There are two small locking mechanisms located on the outer edge of the adapter that should lock in to the camera housing. Make sure the adapter is oriented so it is aligned with the recessed flash window.
# Once the cable and adapter is firmly attached, run the cables along the bottom of the flash base and up the flash arm. The cables should be secured to the flash arm using the Velcro ties provided with your flash accessory.

<gallery>
File:Sealife-proflash09-flashlink.png|Connect to External Flash
File:Sealife-proflash10-flashlink.png|Connect to Camera
File:Sealife-proflash11-velcro.png|Secure with Velcro Ties
</gallery>

=== Aiming and releasing the light ===
'''Pro-Video Light:'''
* The flexible flash arm is fully adjustable to allow quick and easy aiming of the light. Check the camera display to make sure the light is aimed at the subject before taking a picture.
* You can remove the light from the arm, by pushing the release button located on the side of the grip.
* '''Note:''' The flexible arm consists of seven 1-inch (2.5cm) links covered by foam rubber sleeve. You can bend the flexible arm in any direction, but if you force it beyond the point of resistance, the links will separate. If the links separate, you can reconnect it by pushing the links together until they snap in.
<gallery>
File:Sealife-pvl08-hold.png
</gallery>

=== Test the camera and flash (above water) ===
'''Digital Pro Flash:'''
* Now that you have made all the correct settings to your flash and camera, take a few more test pictures to make sure the camera and external flash fires together.
# Power on the camera and flash.
## Make sure the camera settings are set as described in the [[SeaLife DC1400 Underwater Camera Operating Guide]].
## Turn the flash brightness power knob on the back of the flash to the for Auto.
# Wait for the red flash-ready light to turn on.
# Take a series of test picture while viewing the external flash at an angle. (Don’t look directly into the flash).
# The camera’s flash and the external flash should be firing together.
# If the external flash is not firing at the same time as the camera’s primary flash review the instructions above or refer to the trouble shooting guide below.

=== Advanced Settings ===
'''Pro-Video Light:'''
*Customized Light Modes. You can select between 8 different light mode settings:
** Flash Cancellation ON or OFF: When ON, the light dims for 2 seconds when detecting external flash.
** Light Power Levels: Single power (100%) or 3 power
*** (100% ➜ 50% ➜ 25%) or 3 power plus signal
*** (100% ➜ 50% ➜ 25% ➜ Blinking ➜ SOS)
** Power Overdrive: Increase light power to 600 lumens for 2 minute.
To change the light mode setting, remove the battery cap and holder. On the bottom of the battery compartment you will see 3 small toggle switches. Use a pen or similar object to adjust the switches.
<gallery>
File:Sealife-pvl09-advanced.png|Toggle Switches
File:Sealife-pvl10-advanced.png|Light Mode Settings
</gallery>

=== External Flash adjustments: ===
'''Digital Pro Flash:'''
[[File:Sealife-proflash13-extflashadj.png|thumbnail|right|Brightness Control Knob]]
* '''Flash Brightness Control'''
** You can manually or automatically control the external flash brightness by adjusting the brightness control knob located on the backside of the flash head. Take some test pictures and experiment with the effect of the brightness control.
*** ''If the test image is over exposed'' (white or washed out colors), turn the power adjustment 1 or 2 bars clockwise to reduce the flash brightness and take another picture. Do this until the image exposure satisfactory.
*** ''If the test image is under exposed'' (dark), turn the power adjustment 1 or 2 bars counter clockwise to increase the flash brightness and take another picture. Do this until the image exposure is satisfactory. Remember that the flash will only reach about 6 ft to 8ft (1.8m to 2.4m) depending on water visibility, so make sure to keep your underwater shooting distance within that range.
*** If you turn the brightness control all the way counter clockwise, to the position, the flash will be set to Auto mode, and automatically adjust the flash brightness.
* '''Aiming the External Flash'''
** The flexible flash arm is fully adjustable to allow quick and easy aiming of the flash. Make sure the flash head is directed at the subject before taking a picture. If the flash is not aimed correctly the image may appear underexposed (darker).
** Remember that subjects appear closer underwater than they do on land, so direct the flash a little over the intended target to compensate for this underwater effect.

=== Pre-dive Check-list ===
# Insert new or freshly charged batteries into your camera, flash and light.
# Check that the camera and flash settings are correct and that the Flash Link optical cable is securely attached.
# Inspect the o-ring and clean off any dirt, sand or debris. Carefully close the waterproof door making sure nothing is trapped in the sealing area.
# Take a test picture to ensure the camera’s flash and external flash fire. Remember to power off the camera and flash to preserve battery power.
# Perform a quick waterproof test before you enter the water
## Hold the camera and flash underwater. If you see a steady, continuous-stream of bubbles coming from the camera or flash sealing area remove the camera and flash from the water.
## Dry off the camera and flash and inspect for any leaks.
## Note: It is normal that some air bubbles will come from the flash arm and any other air pockets. Most dive boats with have a tub of fresh water intended for underwater cameras.
# Do not jump in the water with the camera in hand. Ask someone to hand you the camera after you enter the water.
'
=== After Each Dive ===
# After your dive and before entering the dive boat, hand the camera to someone on the boat.
# Soak the sealed flash and camera in fresh water to remove salt, sand and dirt. '''Never allow the saltwater to dry on the camera or flash.'''
# After the camera and flash have been rinsed off, let the water drain out of the flash arm (which has small drainage holes at the bottom) and dry the sealed camera and flash with a towel.
# Make sure flash and light (and you) are dry before opening the waterproof door. If you can wait, keep your camera and flash sealed until you are in a dry location.
## '''IMPORTANT:''' When opening the waterproof door, make sure to hold the flash with the door facing down. This will prevent water drops from entering the inside of the flash.
# '''Allow to thoroughly dry before storage.'''
# Insert fresh Moisture-Muncher capsules inside the battery compartment during storage.

=== Troubleshooting Guide ===
* '''Digital Pro Flash does not fire when switch is turned from “ON” to “TEST.”'''
** Wait until the red flash-ready light turns on. If the ready light does not turn on, make sure the battery polarity is correct and battery contacts are clean.
** Check the battery power. Replace or recharge batteries, if necessary.
** If above does not correct the problem, contact Media Loan (360-867-62530.
* '''Digital Pro Flash fires as tested above, but does not fire when triggered by camera.'''
** Make sure the power switch is set to “ON” position and the red flash-ready light is on.
** Take a test pictures and make sure your camera’s inner flash fires.
** Check that your camera settings are correct: set to External Flash mode. Make sure camera’s ready-light is on.
** Make sure the flash pre-flash setting switch is properly set in accordance with the instructions provided in this manual.
** Check that the Flash Link optical cable is attached correctly in accordance with the instructions provided.
* '''Flash fires sometimes but not all the time.'''
** This is normally caused by a damaged Flash Link optical cable or if the optical cable is not set-up correctly. Inspect the optical cable for damage and make sure the cable is attached and secured in accordance with the instructions provided in this manual.
** Check that your camera settings are correct: set to External Flash mode. Make sure camera’s ready-light is on.
* '''The recycle time is very long.'''
** This is normally the result of low battery power. The flash recycle time should not be more than 7 to 8 seconds when the flash is set to full power.
** Replace or recharge batteries if the recycle time is longer than 10 seconds.
* '''Dark areas in your pictures.'''
** This is mostly likely caused by not aiming the flash at the subject or if the flash is somehow obstructed.
** Areas further away from the camera will appear darker than closer objects. Maximum shooting distance is 6ft/1.8m to 8ft/2.4m depending on water visibility and the reflectivity of your subject.
** Check the brightness control setting. Turn counterclockwise to increase flash brightness. Turn clockwise to decrease flash brightness.
** The reflectivity of your subject will cause some areas to appear brighter than other areas. For example, dark coral needs more light than would white coral. Adjust flash intensity accordingly.
* '''Flash arm is loose and does not maintain correct aiming position.'''
** Soak the arm in warm fresh water and flex the arm until all links are clean and free of detergents or lubricants.
** Never use detergents when cleaning the flash arm.
** Test flash arm flexibility underwater. The flash arm will become stiffer underwater. 

For updated trouble shooting information, refer to the SeaLife website at [http://www.sealife-cameras.com www.sealife-cameras.com].

[[Category:Lab Stores]]

Category:Lab Stores

2013-05-08T15:22:58Z

Galloa: Created page with "Category:Media Technologies"

[[Category:Media Technologies]]

SeaLife DC1400 Underwater Camera Operating Guide

2013-05-08T15:19:50Z

Galloa: /* Use the SeaLife Flash Accessories to enhance color and brightness */