The reference numbers of the
controls (shown in Main
Pictures) are repeated below
with a brief definition of each control, followed by
advice on how to start filming without delay. If you
adjust all controls to the red dots, you need not bother
about the 'technical' aspects for your first film.
Get to Know Your
Nizo
1. Cartridge Compartment
Here you insert the film
cartridge. The label must be visible. Otherwise the
cartridge compartment cover will not close.
2. Film Indicator Window
Here you can check at any
time whether your camera is loaded and with what type
of film.
3. Film Footage Indicator
Automatically returns to the
starting point whenever the cartridge is
removed.
4. Aperture Control
Can be set automatically or
manually. Also voltage tester for the batteries in the
handle.
Battery checking:
Turn the switch to the 'control'
position. It is spring-loaded. You will therefore have
to hold it in position. Look through the viewfinder.
Beside the aperture scale on the left-hand edge of the
image a green light must come on. This means you can
start filming. White indicates 'battery change.'
Before filming set the switch to 'automatic' again. If
you now see a red signal the light is either too
bright or too dim for filming.
5. Frame Speed Switch
The red dot at 18 (frames per
second = f.p.s.) indicates normal frame speed. Slower
frame speeds are time lapse, higher speeds are for
slow motion. 9 f.p.s. provides a time lapse of x2 and
- most important - a gain of one stop in dim light.
The setting '1' is used when single frames are to be
taken by hand with a cable release or the Nizo remote
control release. 24 f.p.s. provides a slight slow
motion effect and 36 f.p.s. x2 slow motion (one second
shooting will occupy two seconds during
projection).
Set to the red dot for normal
speed.
6. Time Lapse Switch
(Automatic single frame
setting).
Here you will find three more time
lapse speeds: 6 frames per second, 1 frame per second
and 1 frame every five seconds.
Set to the red dot whenever you do
not film time lapse
7. Flash Synch. Connection
Time lapse or trick shots at
the maximum automatic single frame setting or by hand
using a cable release can be illuminated frame by
frame by flash. Details under Filming
with your Nizo.
8. Filter Switch
The normal Super-8 mm. film
material is designed for the colour temperature of
artificial light. Your camera has a built-in filter
for conversion to daylight.
Set to to the 'sun' symbol. Even
when you are using black and white film. Or will you
be making your first experiments by artificial light?
Then the 'lamp' symbol must be visible on the
switch.
9. Electrical Master Switch
Set to red dot. Do not
forget: reset to 0 after shooting. This cuts off the
current supply.
10. Eyepiece Adjustment
Adjust the optical system of
your camera to your eye like binoculars.
Turn until you see a sharp
picture.
11. Lens Focusing Ring
To focus the Nizo 156 XL,
turn until the vertical lines of the subject appear to
coincide at the point of intersection with the
horizontal dividing line of the circular focusing area
in the viewfinder, that is to say they appear
continuous. For this purpose, set focal length to 56
mm. To focus the Nizo 136 XL or Nizo 148 XL, turn the
ring until the double outlines coincide. For this
purpose, set the Nizo 136 XL to its longest focal
length (36 mm.) and the Nizo 148 XL to 48 mm.
If you have no time for focusing,
take advantage of the considerable depth of field for
pictures requiring quick reaction. Set to the red
figures on the focusing and focal length scales: range
4 metres, focal length 15 mm.
12. Zoom Control
Power operated or - before
shooting - manual. Note: if you exceed a focal length
of 25 mm. you should steady your hand (support it or
lean it on something firm). A tripod ensures
absolutely steady shooting.
13. Release trigger
Easily accessible with the
index finger of the left or right hand. Do not jerk
when operating.
14. Connection for Electromagnetic
Remote Control Release
You can connect a remote
control release (accessory) here and operate the
camera by means of a built-in magnet.
15. Connection for Cable
Release
If you want to trigger the
camera by means of a cable release from the panning
lever of a tripod or for trick shots on the single
frame setting using a cable release.
16. Hand Grip Catch
When you press this button
you can remove the hand grip for carrying or mounting
the camera on a tripod. On the camera base you will
find two tripod sockets for the tripod screw.
17. Exposure Correction
Button
While this button is
depressed the automatic exposure control operates at a
wider aperture (e.g. f/8 instead of f/11). By this
means it is possible for example to expose
automatically for the shadows with backlit
shots.
Filming with
Your Nizo
Drive
The camera mechanism is driven by four
1.5 volt AA batteries accomodated in the hand grip of
your Nizo. These batteries also supply the CdS exposure
control of your Nizo with the necessary power.
You can open the cap in the base quite
easily by hand or with the aid of a coin. The correct
position of the batteries is clearly indicated in the
battery compartment of the hand grip.
To test the battery voltage, set the
filming speed to 18 f.p.s. Then turn the spring loaded
aperture control knob into the 'control' position and
hold it there. In the viewfinder a green light must come
on in the window on the left of the aperture indicator
(or a larger aperture than f/2.8 must be indicated). If a
white signal is visible in this window (or if an aperture
smaller than f/2.8 is indicated) the batteries should be
changed immediately. In all cases, remove the discharged
batteries from the handgrip immediately.
If you make a habit of resetting the
electrical master switch to 0 during all prolonged idle
periods, you will save considerable battery
power.
Film
Loading
Press the button on the rear narrow
side of the camera. Open the cassette compartment
cover.
Insert the cartridge in the cassette
compartment with the round recess facing downward ( that
is to say with the maker's label on top). If this is not
done the cover will not close. In such a case do not use
force. In the cartridge compartment cover there is a
window through which you can check at any time whether
the camera is loaded and with what type of
film.
The film footage indicator shows the
amount of film available in metres and feet. It returns
automatically to the starting position whenever you
remove the cartridge. Remember this when you change a
cartridge before the film footage is completely used up
(e.g. when changing from colour to black and white film).
The film in a cassette is completely exposed when the
footage indicator is at 0 and the word 'exposed' is
visible in the film opening of the cartridge.
Built-in
Filter
Since Super-8 is designed in fact for
the colour temperature of artificial light, a built-in
conversion filter (orange) is necessary for daylight
shooting. In this case the filter switch should be set to
the 'sun' symbol for all daylight shots.
For shooting under artificial light
the switch must be set to the 'lamp' symbol, whereby the
filter is moved out of position.
Automatic
Exposure Control
The automatic exposure control of the
Nizo is designed for Super-8 cartridge films with the
following speeds:-
40 and 160 ASA [17 and 23
DIN] with artificial light colour film
25 and 100 ASA [15 and 21
DIN] with daylight colour film
40 and 160 ASA [17 and 23
DIN] with black and white film
Intermediate speeds are not taken into
account by the automatic exposure control. When the film
cartridge is inserted, the exposure control is set
automatically to the film type used.
After metering through the lens, the
exposure control automatically sets the lens diaphragm to
the correct aperture. For checking purposes the aperture
set is indicated on the left of the viewfinder image. If
you see a red signal in the window beside the aperture
indicator this means that the light is too bright for
shooting (e.g. when shooting with high speed film in
dazzling sunlight on the beach). You will therefore have
to use a neutral density filter. Or it means that the
light is too dim and you will have to use a movie
light.
If you see a green signal this means
that lighting conditions are right for
shooting.
The white signal indicates very
limited depth of field and tells you that you must focus
exactly. This is particularly important if you want to
shoot with focal lengths above 30 mm. or at short subject
distances in relatively dim lighting
conditions.
The green signal appears for apertures
from f/2.8 to f/22 and the white signal from f/1.8 to
f/2.8.
Exposure
Correction Button
If you wish to shoot at a wider lens
aperture without having to do without automatic exposure
control, press the Plus 1 button on the left of the frame
speed switch. As long as you keep your finger on this
button the exposure control will operate at apertures one
stop wider than normal (e.g. f/8 instead of f/11). In
this way you can expose automatically for the shadows so
that backlit subjects do not appear as silhouettes on the
projection screen.
Manual Aperture
Control
You can switch off the automatic
exposure control and set any required aperture stop
manually. For this purpose the aperture control is turned
away from the 'automatic' setting. The aperture indicator
in the viewfinder now reacts when the control knob is
turned.
In this way you can correct
automatically set values, if for example the principal
subject area is considerably brighter or darker than the
surrounding area. The subject to be taken should then be
metered as accurately as possible either with the
automatic exposure control at short range or by taking a
meter reading of a more accessible subject of similar
brightness. The aperture thus obtained is then set
manually.
An example: when taking a picture of
the 'man at the helm' of a boat the automatic exposure
control indicates f/11 on water reflecting the sun. If
the scene is taken at this aperture the person will
appear too dark and the reflecting water correctly
exposed n the screen. Exposure should therefore be
corrected.
Under certains conditions fade-out and
fade-in is possible using manual aperture control. If one
slowly and continuously reduces the light falling on the
film while shooting fade-out will take place, and
vice-versa a fade-in.
For this purpose you must read off the
appropriate aperture and set it with the aperture switch
(before shooting: read off aperture. Note. Set aperture
switch to 'manual'. Then turn until the indicator in the
viewfinder shows the aperture noted). Now while shooting
turn the aperture switch so that the reading slowly
descends to the smallest aperture (f/22).
Under normal lighting conditions yu
will obtain effective fade-out between f/5.6 and f/8. At
smaller apertures (f/11, f/16) fade-out is not possible
as the range for stopping down is too limited. Larger
aperture settings on the other hand will make fade-out
even more effective.
This applied in exactly the same way
to fade-in. Here as well you must read off and note the
correct shooting aperture. Then with the aperture switch
set to 'manual' slowly open up to the correct shooting
aperture starting from f/22.
After special effects shots of this
type or after aperture correction do not forget to reset
the aperture control to 'automatic'.
What XL
is
The letters XL are an abbreviation for
'existing light'. If you want to shoot with existing
(dim) light without additional illumination by floodlight
or other lights the Nizo offers you two devices for
getting more out of the existing light. The shutter has a
sector aperture of 225 degrees and provides an exposure
of 1/28 second for each frame at a speed of 18 f.p.s.
This is 50% more than possible with normal shutters on
conventional cameras and means a gain of half a
stop.
The lens aperture closes down by a
whole stop when you select 9 f.p.s. time lapse. If this
extra light is important to you, you can also set the
frame speed switch to 9 f.p.s. instead of 18 f.p.s. (also
for time lapse shots with the automatic single-frame
setting).
Zoom
Control
The zoom lens offers you two
advantages. You can literally change the focal length and
thus the angle of view before shooting. If you use this
facility rationally, your films will appear as if they
were taken with several cameras, although you have hardly
changed your position. For this purpose (and also if you
wish to save battery power) set the focal length just
before shooting by operating the zoom ring.
You can also change the focal length
during shooting and will then obtain scenes which look as
if the camera was moving towards or away from the
subject, although you have not changed your
position.
During shooting, zoming can be carried
out - without moving the camera out of position - just by
operating the rocker switch on the camera body. Only
depress one end of the switch, do not press in the
middle.
Focusing
It is essential for focusing through
the lens to adjust the optical system to your vision
(Eyepiece adjustment). For this purpose select the
shortest focal length and set the lens focusing ring to
the infinity mark. Now look through the eyepiece and turn
the knurled roller in the camera body (next to the
eyepiece) until the viewfinder image of an object over 10
m. away appears sharp.
For actual focusing select the longest
focal length.
Focusing with the
Nizo 156 XL
If when focusing the vertical lines of
the subject appear out of coincidence at the point of
intersection with the horizontal dividing line of the
circular focusing area in the viewfinder, turn the lens
focusing ring until the lines of the subject appear
continuous. It is unimportant if one half of the circular
focusing area appears slightly unsharp or darker than the
other.
Focusing with the
Nizo 136 XL and the Nizo 148 XL
For actual focusing select the longest
focal length (Nizo 136 XL: 36 mm. - Nizo 148 XL: 48 mm.)
Now turn the lens focusing ring until the double outlines
of the object, as seen in the viewfinder,
coincide.
You can now select the required focal
length and start shooting.
Accurate focusing becomes all the more
important the longer the focal length selected for
shooting is, the dimmer the light is (that is to say the
wider the aperture set), and the shorter the subject
distance is.
If you wish to measure the subject
distance with a tape measure, place the end of the tape
on the film plane mark (between aperture control and time
lapse switch). Only for close-ups with supplementary
lenses should the tape be placed on the edge of the
lens.
If you have no time for focusing the
lens you can without hesitation make use of the very
considerable depth of field at short and medium focal
lengths. The 4 m. mark on the lens focusing ring and the
15 mm. mark on the focal-length scale are marked in red.
With this combination even in relatively dim light and
tat f/4, the depth of field will extend from 1.74 m. to
infinity even at a relatively dim illumination. The
shorter the focal length the more extensive will be the
depth of field.
The Frame Speed
Switch
With this rotary switch you can set
the film transport mechanism to the standard speed of 18
f.p.s. (red-dot) or to the slight slow-motion speed of 24
f.p.s. or the x2 slow motion of 36 f.p.s. On the other
hand the Nizo provides a x2 time lapse of 9 f.p.s. with
this switch. You will find three more time lapse speeds
by the automatic single frame setting marked 'Timer'. The
Nizo thus has 7 frame speeds with electronic speed
regulator.
Set the required speed so that the
switch engages under the corresponding mark.
Note: intermediate settings are not
possible.
The exposure times at the various
frame speeds are as follows:
9 f.p.s = 1/14 sec.
18 f.p.s. = 1/28 sec.
24 f.p.s. = 1/38 sec.
36 f.p.s. = 1/54 sec.
The automatic exposure control sets
the lens aperture accordingly.
The position '1' on the frame speed
switch must be set when manual single-frames are to be
taken.
The
Manual Single Frame
Setting
The manual single-frame setting using
a cable release or the Nizo remote control release works
in the same way as the three time lapse speeds of the
automatic single frame control -
1. extreme time lapse shots
and
2. animation shots (bringing objects
'to life' in trick shots)
Example of time lapse: the slow
movement of clouds can be made visible by shots taken at
intervals of seconds.
Example for animation: dolls move,
waving their arms if the latter are moved a little at a
time between shots.
For this purpose the camera is best
mounted on a tripod and a cable release (as long as
possible) screwed into the socket on the camera base. You
can also use the electro-magnetic remote-control release
for single frame settings. The plug for this purose is
inserted in the socket on the camera base next to the
screw socket for the cable release. In each case set the
the frame speed switch to '1'.
If you do not have a cable release or
the remote control release available at the time, you can
take single frame shots with the release trigger as well.
This should, however, be regarded as an emergency
measure, as considerable care is necessary not to move
the camera out of position during the film sequence.
Absolutely rigid camera mounting is essential for
successful trick or special effect shots using this
device.
Time Lapse
Switch (automatic single frame setting)
With this rotary switch you can set
the film transport mechanism to three different time
lapse speeds. Important: the frame speed switch must be
set to 18 (red dot). If you now turn the time lapse
switch to the three dot mark it will engage there and the
camera is set to a frame speed of approximately 6 frames
per second. The mechanism will start to run as soon as
the switch engages. If you hold the camera absolutely
still you can dispense with a tripod at this speed. When
projected at 18 frames per second all movement filmed
will appear 3 times faster than normal.
When the switch is turned to the two
dot mark, the camera is now set to a frame speed of
approximately 1 frame per second. When projected at 18
f.p.s. this will produce a time-lapse effect of 18:1 on
the projection screen. Absolutely firm camera mounting
during shooting is essentiual for good results. It is
best to mount the camera on a tripod. This also applies
to shots at a speed of 1 frame approximately every 5
seconds. In this way you can take shots with a time lapse
effect of 90:1. For this purpose the switch must be
turned to the 1 dot mark. This frame speed allows you to
illuminate each individual frame by electronic flash. The
interval of five seconds is sufficient for recycling of
the flash unit. Further details are given in
Time Lapse
Photography with Flash
Illumination.
If during time lapse shots you depress
the release trigger of the camera you can change over
directly to the standard speed of 18 f.p.s. (Do
not however try this at 24 f.p.s. This would
result in incorrect exposure). If you now remove your
finger from the release trigger, shooting will
automatically continue at the time lapse setting
selected.
The direct change in frame speeds is
also possible when using the electromagnetic remote
control release or the cable release. Time lapse ceases
when you turn the time lapse switch to the red dot
mark.
Time Lapse
Exposures with Flash Illumination
Electronic flash is similar to
daylight, in that it generates no heat and has constant
colour temperature. Thus it is the only way of filming
objects sensitive to heat (e.g. plants).
Check the recycling time of your flash
unit. It must be less than 5 seconds so that full power
is available when the automatic time lapse mechanism of
your Nizo takes the next shot (recommended flash unit:
Braun 2000 VarioComputer).
Set the time lapse switch to the 1-dot
mark (the other two time lapse settings are not
suitable). Connect camera and flash unit with a camera
bracket and mount the whole unit on a tripod. To attach
the camera to the bracket you can also use the socket
behind the hand grip. This socket is extremely useful if
you wish to couple a movie light to the camera by means
of a bracket. Connect the plug of the flash cord into the
socket on your Nizo.
You must set the lens aperture by hand
with the aperture control to the correct stop for
shooting. The apertures applicable to similar conditions
for still cameras should be corrected by opening up one
stop (e.g. set to f/5.6 instead of f/8).
Tripod
Shots
If you want to mount your Nizo on a
tripod, move the hand grip out of position and let it
hang. On the bottom of the camera base there is a tripod
socket into which the tripod screw will fit.
Shooting from a tripod is always worth
while because of the improved picture stability during
projection and particularly during pronounced camera
movement, zooming by altering the focal length, trick
shots with the single frame mechanism or using time-lapse
speeds, and when using long and maximum focal length
(tele).
Electromagnetic
Remote Control Release
You can also operate the camera
mechanism by means of a magnet built into the camera
combined with the Nizo remote control release cable. A
reel with 30 ft. (10 m.) of 2 mm. cord, push-button
release and connection for extension by a further 10
metres of cord is available as an accessory. Up to ten
reels can be combined.
The remote control release permits
shots with the camera concealed or shots in which you
yourself appear in the picture without having to worry
about finding an 'assistant camera-man'. Set up the
camera on a firm mounting - ideally on a tripod - in
front of the subject and set the aperture control to
'automatic'. Push the remote-control release plug into
the left-hand socket on the camera base. When arranging
the cord ensure the camera is not pulled out of position
or even pulled over.
Connection for the cable extension by
means of a further reel is located beside the push button
switch on the reel.
Extreme Close-ups
with Supplementary Lenses
Among the accessories for every Nizo
camera are three supplementary lenses for extreme
close-ups. In combination with the long focal lengths of
the camera, these lenses permit picture areas only
centimetres in size and scales of reproduction which
penetrate far into the microcosm.
Detailed information on diopters,
scales of reproduction and picture area sizes are outside
the scope of these instructions as all these factors are
determined by the focal length of the the lens used and
can only be reproduced in tabular form. Each Nizo
close-up lens is supplied with accurate tables giving
subject sizes, ranges and depth of field.
Close-up filming with Nizo close-up
lenses requires no aperture correction, but exact
focusing. A tripod is very important.
Close-up lenses for the Nizo 156 XL
and Nizo 148 XL:
|
Supplementary Lens
|
Focusing Range
|
|
Nizo NL 1
|
1.00 - 0.47 m. (40 - 20 inches)
|
|
Nizo NL 2
|
0.50 - 0.32 m. (20 - 14 inches)
|
|
Nizo NL 3
|
0.33 - 0.24 m. (15 - 11 inches)
|
Close-up lenses for the Nizo 136
XL:
|
Supplementary Lens
|
Focusing Range
|
|
Nizo NL 301
|
1.00 - 0.47 m. (40 - 20 inches)
|
|
Nizo NL 302
|
0.50 - 0.32 m. (20 - 14 inches)
|
|
Nizo NL 303
|
0.33 - 0.24 m. (15 - 11 inches)
|
Extreme Wide-angle
Lens for the Nizo 136 XL
A super wide-angle supplementary lens
is available as an accessory for the Nizo 136 XL only. It
is screwed onto the main lens, using an adaptor, and
changes the focal length by a factor of 0.38. (Example
0.38 x 12 mm. = 4.56 mm.) The shortest focal length of 9
mm. is thus reduced by this supplementary lens to 3.42
mm. The lens produces a horizontal picture angle of 77
degrees and multiplies the depth of field by seven. The
shortest focusing range is approximately 20
cm.