BEAULIEU R 16 Automatic B User manual

Automatic

1
Battery
2 Camera power socket
3 Handgrip for battery
4 Master control switch
5 Release button with cable-release
socket
6 Camera power-supply and safety
switch
7 Footage counter
8 Frame counter
9 Frame counter zero-reset knob
10 Single frame release
11 Sync pulse generator socket
12 Turret locking catch
13 Remote-control release socket
3
14 Viewfinder eyesight correction
adjustement
15 Filming-speed control knob
16 Filming-speed indicator window
(tachometer)
17 Speed range converter switch (24-25
f.p.s.; 2-64 f.p.s.)
18 Film-sensitivity/filming-speed adjus¬
tement for light meter
19 Reglomatic automatic diaphragm
control
20 Reglomatic cut-out switch
21 Diaphragm setting ring
22 Focal length adjustment ring
23 Focussing ring
24 Wrist-strap fixing nut

PRELIMINARY DESCRIPTION
1. Battery. 7
2. Camera power socket. 8
3. Handgrip with built-in battery . 9
4. Master control switch. 9
5. Release button with cable-release socket. 9
6. Camera power-supply and safety switch. 10
7. Footage counter. 10
8. Frame counter . 10
9. Frame counter zero-reset knob. 10
10. Single frame release. 10
11. Sync pulse generator socket. 11
12. Turret locking catch . 11
13. Remote-control release socket . 11
14. Viewfinder eyesight correction adjustment. 11
15. Filming-speed control knob. 11
16. Filming-speed indicator window (tachometer). 11
17. Speed range converter switch (24-25 f.p.s.; 2-64 f.p.s.) 12
18. Film-sensitivity/filming-speed adjustment for light meter 12
19. Reglomatic automatic diaphragm control. 12
20. Reglomatic cut-out switch. 12
21. Diaphragm setting ring. 13

BEFORE FILMING
1. Battery charge check. 13
2. Loading the camera . 13
3. How to hold the camera. 15
4. Adjusting the viewfinder. 15
5. Choice of filming speed. 16
6. Adjusting exposure control filming-speed/film sensitivity 17
7. The automatic diaphragm and its use . 18
8. Manual aperture setting . 19
9. Turret-type cameras. 19
10. Framing and focusing. 20
11. Unloading the camera. 21
SPECIAL APPLICATIONS
1. Use on a tripod. 21
2. Filming in reverse. 21
3. Single-frame filming. 22
4. Remote-control filming . 22
a) Mechanical remote control .
b) Remote control by electric lead.
c) Remote control by radio .
5. Micro- and macrophotography. 23
6. Sound synchronization. 24
7. Using the camera at very low temperatures. 25
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THE ACCESSORIES AND THEIR USES
1. Charging the batteries from a wall socket. 28
2. Charging the batteries from a DC source . 28
3. Use of the 200-ft magazine. 30
MAINTENANCE
1. Lenses . 34
2. Film gate. 34
3. Reflex viewing system . 34
4. Lubrification . 34
ELECTRICAL DATA
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These instructions are intented for the R16 Automatic (Model B)
camera, but are perfectly suitable for the R 16 B Reflex Control Semi-
Automatic single-lens or turret-type cameras; special paragraphs,
applying exclusively to the types, are Included.
To achieve the best results, you should make yourself perfectly familiar
with the camera's characteristics and with the possibilities offered by
its various features. This is why we suggest that you should first " get
acquainted with your camera
DESCRIPTION
1. Battery:
The R 16 camera is powered by two types of nickel-cadmium batteries:
the 500-milliamp battery, which allow you to shoot seven 100-ft
films on a full charge, and the 1 000-milliamp battery, which will give
power for sixteen 100-ft films, at 24/25 f.p.s. (1).
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Number of 100-ft reels which can be exposed, according to battery
type and filming speed.
Type of
battery
Number of 100-ft reels
at 64 f.p.s.
at 2 f.p.s.
at 24/25 f.p.s.
500-milliamp'
1
7
14
1000-milliamp
2
16
32
If 200-ft reels are used, divide the above figures by 2.
Filming times will vary according to reel-length and filming speed.
2 f.p.s.
24/25 f.p.s.
64 f.p.s.
100-ft reels
32'
2'30"
1 '
200-ft reels
65'
5'
2'
Current consumption drops by about 50 % between maximum and mini¬
mum filming speeds. But, on account of the increase in running-time,
the number of reels exposed at 2 f.p.s. is less than at 64 f.p.s.
2. Camera power input socket
This connects the power supply to the camera, whether the batteries
are housed in the camera handgrip or external to the camera.
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3. H a ndg r i p with built-in battery
This handgrip will take two types of batteries (500 and 1000 milliamp)
with a screw-in connection. It comprises the camera power-supply
and safety switch.
Other batteries are available for special applications.
4. M a s t e r control switch
The master switch has four positions (2) :
-- at " Stop ", the camera is switched off;
— at " Normal ", the camera is ready for forward filming;
— at " Retour ", the camera is ready for reverse filming;
— at " Control ", battery tension can be checked (providing the camera
power-supply switch is depressed, i.e. "on ").
5. R e l e a s e button and cable-release socket
The release button has two positions (3) :
— " pushed in ": this sets the film running;
— " pushed in " and button turned clockwise through 90°: this posi¬
tion allows continuous filming.
When the button is released, the camera automatically stops with the
image visible in the view finder (i.e. shutter closed). In the centre of
the button is a threaded socket for fitting the cable release.
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6. Camera power-supply and safety switch
This switch has three position ( 4 ) :
— "Off " position no power reaches the camera (button out);
— On " position: when the handgrip is held, the switch is depressed
anci the camera is ready to operate.
— ' Continuous '' position; the switch is depressed and turned clock-
\n\s^ through 90” with a coin. This position is only used when the
camera is mounted on a tripod, for remote-control filming, and for
single-frame filming. (Never leave the switch in this position, for the
baitery would be flat within 6 hours).
The camera's operation is nevertheless controlled by the master switch
and the release button.
7. Footage counter:
The footage counter shows, in meters on the upper scale and in feet
on the lower scale, the length of film already exposed. This counter
automatically returns to zero on loading the camera ( 5 ) .
8 and 9. Frame counter and zero-reset knob
The frame counter is graduated from 0 to 100.
A milled knob is provided for zero reset (6-7).
10. Single-frame release:
Single-frame filming is performed by means of a cable release screwed
into the single frame release socket (each time you wish to expose a
frame, depress the cable release button, with master switch set to normal
and handgrip power-supply switch " on ").
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11. Sync pulse generator socket:
This allows a 50-cycle, 25 f.p.s. or 60 cycle, 24 f.p.s. sync pulse gene¬
rator to be fitted for lip-sync double system sound filming.
12. Turret locking catch:
This catch is found on all the cameras, but is only used on the three-
lens turret model.
13. R e m o t e control socket:
This socket takes a remote cable release .
14. Viewfinder eyesight-correction adjustment:
The eyepiece can be set so as to be perfectly adapted to the operator's
eyesight.
15. Filming-speed control knob:
Sets the camera to the desired filming speed (8).
16. Filming-speed indicator window-(tachometer)
Its needle provides a visual check, on the graduated scale, of precise
filming speed (the line of sight must be strictly perpendicular to the dial).
The two upper dots give 24 (green dot) and 25 f.p.s. (red dot) for syn¬
chronous filming, when the filming-speed, range switch is set to 24/25
f.p.s.). This tachometer allows high-accuracy speed setting when
using a sync pulse generator for sound filming. With the switch in
the 2-64 f.p.s. position, the lower scale indicates speeds between 8 and
64 f.p.s. (9).
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17. Speed-range converter switch (2^l2b f.p.s. or
2-64 f.p.s.):
When switched to the left, the available speed range is from 2 to 64 f.p.s.
When switched to the right, its purpose is to give a perfectly accurate
definition of speeds of 24 or 25 f.p.s. This is of course essential for
synchronous sound filming (10).
N.B. The converter switch should, as far as possible, only be manipulated
when the camera is not operating.
18. Film-sensitivity/ filming-speed adjustment poten¬
tiometer :
This knob makes it possible to set filming speed according to the sensi¬
tivity of the emulsion of the film loaded. This preliminary setting, connec¬
ted with the light-metering system, ensures standardized exposure (11)
19. Automatic diaphragm control (Reglomatic)
This device ensures automatic diaphragm control according to the amount
of light falling on the cell through the reflex viewing system. Automatic
adjustment lenses are removable.
20. R e g l o m a t i c cut-out switch:
This is a two-position switch:
- In the " auto " position, the diaphragm is automatically controlled
and thus adjusts the amount of light transmitted through the lens (12).
— In the " semi " position, the automatic system is cut out and the dia¬
phragm must be set manually according to the cell's indications (needle
in the viewfinder) (13).
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21. Diaphragm setting ring:
In the " auto " position, this ring is positioned by a micro-motor controlled
by a transistorized system which translates the light variations recorded
by the reflex cell.
In the " semi " position, it must be controlled manually, according to
the reflex cell's indications (variations in light can be checked from
the needle visible in the viewfinder).
BEFORE FILMING
1. Battery-charge check:
Before you start filming, it is a wise precaution to check battery charge.
The voltmeter being built in with the camera, this is easy:
a) Set the master switch to " Control " (14).
b) Make sure the filming-speed converter switch is on " 2-64 f.p.s. "
(15).
c) Simultaneously depress the camera power-supply switch and the
release button. The tachometer needle must swing into the red zone,
and stay there (wait for about 30 seconds). If it drops into the white
zone, power supply is deficient. The battery therefore needs charging
(see paragraph 1 in the chapter on the use of accessories).
d) If the battery is adequately charged, set the master switch back to
" normal ", or to " stop " if you do not want to film immediately.
2. Loading the camera:
The camera should be loaded in the shade.
a) Open the camera side plate by turning the catch as shown by the
arrow. Remove the take-up reel delivered with the camera, faeing
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careful to push the footage counter zero reset fork (16) (see use of this
fork when using a 200-ft magazine, p. 00). Open the film gate
b) Unwind about 10" of the film leader. Place the feed reel on the
feed spindle, fitting it snugly on to the square arbor. The film must wind
out from the bottom, in the direction shown by the arrow
c) Insert the film between the upper feed spindle and the feed guide.
Film perforations should automatically be positioned on the correspond¬
ing spindle teeth. To ensure this, thread the film in, pressing the edge
gently down and simultaneously switching the camera on (17).
Check that perforations are well meshed with the feed sprocket's teeth
by gently pulling on the film.
Thread the film, with the appropriate loops as shown on the film feed
path on the plate, and fit it into the gate.
Close the gate pressure plate; if the film is properly positioned the pressure
plate should, on resuming its position, ensure perfect contact with the ga¬
te. This should be checked by gently moving the film in the normal (forward)
direction. The claw should then be positioned so as to fit into a perforation.
d) After setting aside a sufficient length of film to make up the loop
required after the gate, thread the film between the lower feed sprocket
and guide, and proceed as in c) above to ensure proper seating.
e) Thread the leader end into the hub of the take-up spool, and take
up 3 or 4 turns.
f) Lift the footage counter zero-reset fork. Replace the take-up spool
on its spindle. Release the fork, which should return to its position above
the upper side of the spool (18). Run a few inches of film to make
certain that everything is in order, that the loops remain at the right length
and that the feed sprockets teeth are properly engaged.
g) Replace the camera side-plate, setting the locking catch to " f
(closed). The camera side-plate can in fact only be locked in place
if the gate pressure plate has been properly positioned.
h) The film can be run until the red area of the footage counter, showing
that all the leader has run through the gate, coincides with the vertical
hairline.
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3. How to hold the camera:
When using a battery-handgrip, the photograph opposite ( 1 9 ) shows
how the camera should be held. Using this grip, the camera power-
supply and safety switch is held in the " depressed " or " on " position
by the thumb. This means that the camera has power available and
is ready to film. For forward filming, all you now have to do is to press
on the release button (the master switch being in the " Normal "
position).
IMPORTANT: In no case should the camera be stopped by first releasing
the camera power-supply switch for this interrupts the electric circuit
and the shutter may stop in any position; this might lead to fogged
frames whereas, if the release button is first released, the camera stops
with its shutter closed, thus avoiding any risk of fogging. The camera
power-supply switch can then be released.
This power-supply switch also acts as a safety device. In the " Off "
position, i.e. when no pressure is applied, the camera's power-supply
is cut off.
4. Adjusting the viewfinder:
a) Bring the zoom system to the " wide-angle " position.
b) Set the focussing ring to infinity.
c) Set the Reglomatic switch to " semi ".
d) Set the diaphragm to maximum aperture.
e) View a distant point, and turn the eyepiece's milled ring until the
subject is perfectly sharp. The viewfinder is then adjusted to your
eyesight. An operator usually wearing glasses can take them off,
for comfort s sake, and do all his focussing with the naked eye once the
eyepiece is adjusted to his own eyesight (withing limits of +2 to —2
diopters) ( 2 0 ) .
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5. Choice of filming speed:
With the BEAULIEU R16 camera, you can film at any speed between
2 and 64 f.p.s.
Normal use :
— Set the speed range converter switch to the left-hand position (2 to
64 f.p.s.).
- Set the masterswitch to " normal
— Depress the release button.
— Turn the filming-speed control knob until the tachometer needle
stops on the selected speed. This can be done using the trailer alone.
Speeds corresponding to the dots on the lower part of the filming-speed
dial (reading from left to right) are as follows:
1st point
8 f.p.s.
2nd point
16 f.p.s.
3rd point (red)
25 f.p.s.
4rth point
32 f.p.s.
5th point
48 f.p.s.
6th point (red)
64 f.p.s.
Synchronous sound filming ;
To ensure perfect synchronization between picture and sound, it is
vital that you should film at 24 or 25 f,p.s. (according to local
mains frequencies: 24 f.p.s. with 60-cycle supply, 25 f.p.s. with 50-
cycle).
— Set the filming-speed converter switch in the right-hand position
(24/25 f.p.s.).
— Set the master switch to " normal
— Depress the release button.
— Turn the filming-speed control knob until the tachometer needle
lies strictly on the appropriate dot on the upper scale .
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— The left-hand dot (green) indicates 24 f.p.s., that on the right (red)
25 f.p.s.
NOTE: Never let the camera run empty at speeds in excess of 32 f.ps
— The tachometer dial has no marks corresponding to 2 or 4 f.p.s.
These speeds' extreme slowness makes this check superfluous.
Table of exposure times for different filming speeds:
Filming speed Exposure time in fractions
in f.p.s. of a second
2 . 1/5
4 . 1/10
8 . 1/20
16 . 1/40
24/25 . 1/62
32 . 1/80
48 . 1/120
64 . 1/160
6. Adjusting exposure control (filming-speed/film-
sensitivity):
— Bring the chosen filming speed opposite the film s A.S A. rating
(in the photograph opposite. ( 2 1 ) the speed chosen was 25 f.p.s.
and the film's sensitivity 100 A.S.A.).
It is always possible to set a film sensitivity lying between those marked.
The interval between two successive degrees of sensitivity corresponds
to the ratio between two successive apertures. Intervals in the sensi¬
tivity scale, from one mark to the next, are equal. Should you for exam¬
ple wish to set a sensitivity of 150 A.S.A., all you need do is to set the
filming-speed mark half-way between 100 and 200 A.S.A.
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There is a mathematical relationship between emulsion speed and
shutter speed (the latter being dependent on filming speed).
Thus, filming at 16 f.p.s. with 50-A.S.A. film corresponds to filming :
at 32 f.p.s. with 100-A.S.A. film,
or at 8 f.p.s. with 25 A.S.A. film,
and exposure-times will be identical.
CAUTION: When filming under conditions of exceptionally poor
lighting, at very slow speeds (2 or 4 f.p.s.) it is essential to use an inde-
pedent, highly sensitive light meter if the film used has a rating of under
20 A.S.A.
Thus, for filming-speeds slower than 8 f.p.s., it is necessary to use the
" semi " setting.
The filming-speed film-speed system is adjusted to give perfect results
under normal lighting conditions. In case of special lighting conditions
(against the light, glare, snow- or seascapes) or of desired special
effects, this adjustment can be adapted. In order to obtain longer expo¬
sure, all you need do is set a lower film sensitivity. Conversely
in order to achieve underexposure, you must set a higher film rating.
For example, at a filming speed of 25 f.p.s. with a 100-A.S.A. film, in
order to increase exposure by half an aperture, you only have to
bring the 25 f.p.s. mark half-way between the 50 and 100 A.S.A.
marks (22).
7. The automatic diaphragm and its use:
a) Check that the Reglomatic cut-out switch is set to " auto ".
b) Switch on the camera power-supply.
To achieve proper exposure, the needle visible in the viewfinder must
remain on the vertical axis of the crosshairs. Outside the tolerance zone
(see diagram opposite), (23) lighting conditions are unsuitable for
filming.
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If the needle lies to the right of this zone, there is not enough light;
therefore, if the subject allows it, use a slower filming speed. If the
needle lies to the left, the light is too strong, and a neutral grey filter
should be used in front of the lens, or a higher filming speed adopted.
The automatic camera can be fitted with the following lenses;
— Angenieux 17 -68 mm zoom f 2.2. (24)
— Angenieux 12.5-75 mm zoom f 2.2. (25)
— Angenieux 12 -120 mm zoom f 2.2. (26)
Although these lenses are interchangeable, they have to be specially
adjusted for each camera.
CAUTION: The automatic camera will take most 16 mm cine lenses
with C mounts, and still-camera lenses the rear diameter of whose lens-
mount does not exceed 50 mm in the first 60 mm. Under such conditions,
the camera can only be used in a semi-automatic capacity. It will
also take extension tubes and microscope adapter rings.
8. Manual aperture setting:
Whether using a semi-automatic camera (single-lens or turret-type) or
a fully automatic one, all you have to do to set the diaphragm by hand
is to aim at the subject, and to bring the needle visible in the viewfinder
within the tolerance limits by operating the diaphragm setting ring. The
cell lying behind the lens, no special corrections are required when using
extension tubes or filters.
9. Turret-type cameras:
BEAULIEU 16-mm cameras can be fitted with a 3-lens turret. To
change the lenses' position, all you need do is to depress the turret
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locking catch, thus freeing it (27). To swivel the turret (either
clockwise or antichlockwise), use the three knobs fitted between the
lenses, to avoid any risk of modifying their settings. Once the catch
has clicked into place, the lens chosen for filming is properly aligned
(upper position) (28).
The lenses most usually used to meet all needs are:
— a normal lens of 25 mm focal length;
— a wide-angle lens of 10 mm focal length;
— a telephoto lens of 75 mm focal length.
All standard lenses with a standard C mount and a film plane distance
of 17.52 mm can be fitted on the turret, providing the rear portion of the
thread, when drawn in to a maximum (i.e. when focussed on infinity)
does not exceed 3.8 mm (0.1496 ins). The turret-type camera can
also be fitted with a zoom lens, or with very long-focus telephoto lenses.
On account of their weight, the turret should be locked.
For exceptionally heavy lenses, a turret reinforcing plate is available to
avoid any risk of warping (29).
Single-lens R16 cameras are usually fitted with a zoom lens. Both
single-lens and turret-type model B cameras can be converted to auto¬
matic providing the lenses designed for this purpose are used.
10. Framing and focusing:
We assume that the viewfinder has been adapted to the operator's
eyesight. This being so, the subject to be filmed must be sharp on
the focussing screen. To achieve this, the lens focussing ring must
be turned until the subject comes into pin-point focus. This adjustment
should, whenever possible, be made with the diaphragm at maximum
aperture. If the camera is fitted with a zoom lens, this adjustment should
be made with the zoom set to telephoto.
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