Preliminaries
a) The
turret
The turret is rotated by means of
three actuating knobs, designed to obviate the risk of
maladjusting the lenses by twisting.
Hold the R.16 correctly: get a firm
grip over the top of the camera, with your left hand
under the strap, palm applied against the lid. With your
right hand thumb, press on pawl (16) unlocking the
turret, while the fore or middle fingers acts on one of
the actuating knobs (17) intiiating clockwise turret
rotation. Now, release pawl (16) and rotate turret until
it locks into position. One of the three lenses is now in
position for filming.
Note this exclusive feature: When
starting a fresh reel, you can determine exactly when to
begin filming by observing the tell-tale perforations on
the lead-in strip through a monitoring window provided on
the turret casting. To do this, rotate the turret until
the window coincides with the exposure
aperture.
b) The lenses
The three lenses provided on the R.16
turret should cover all normal requirements:
- Standard 25 mm. lens
- Wide-angle short focal length
lens
- Telephoto lens (approx. 75
mm.)
However, all lenses with standard
17.52 mm. fit can be readily mounted on the turret
without prior correction. When mounting the lenses,
remember to fit the telephoto lens immediately under the
wide-angle lens (the latter being placed in the operation
position). If this precaution is overlooked, the sun hood
of the telephoto lens will get in the way of the field of
the wide-angle lens (incidently, reflex viewing will
immediately show up obstructions of this nature). If long
focal length lenses are used (150, 300 mm. etc.) the
turret locking plug should be screwed in the place of the
intermediate lens.
Extension tubes and rings: They screw
between the lens and the turret. Their purpose is to
permit the close-up filming of small-sized objects )for
larger-than-life reproduction on the film). Manufacturers
of extension tubes supply aperture-correction charts, a
necessary requisite for correct exposure. Perfect
focusing is assured through the reflex
viewfinder.
c) The diaphragm
We shall assume that the operator uses
an exposure meter, an essential requirement for correct
exposures.
Exposure times for the different
speeds are:
8 f.p.s - 1/20 second
16 f.p.s. - 1/40 second
24 f.p.s. - 1/60 second
32 f.p.s. - 1/80 second
48 f.p.s. - 1/120 second
64 f.p.s. - 1/160 second
d) Focusing and framing
Here the full advantages of the R.16
reflex viewfinder will be see: the system permits precise
and complete evaluation of the subject, even at very low
diaphragm settings, so that the operator is able to
achieve extremely accurate focusing.
Focusing procedure: Using the lower
eyepiece (reflex finder), start by focusing on the
cross-hair, rotating the eyepiece (3) until correct
focusing is obtained. Lock the eyepiece (anticlockwise
motion of locking ring 4). Thereafter, the viewfinder
will remain exactly focused, irrespective of the type of
lens used.
If the operator wears spectacles, he
may take them off and apply his eye directly to the
eyepiece for focusing, adjusting the eyepiece for his
correct vision. Subsequently, he will be able to film
without suffering the inconvenience of wearing
spectacles.
When this preliminary eyepiece
focusing is over, proceed to focus on the subject by
rotating the focusing ring of the lens.
If, during filming, the subject moves,
keep it in focus by adjusting, with the right hand, the
focusing ring. Naturally, for this operation, the camera
should be securely mounted on its tripod.
This facility, made possible by the
high luminosity of the R.16 reflex viewing system, is
extremely valuable to telephoto work, where the depth of
field is always limited and range difficult to
assess.
e) The straight Viewfinder
The field of the finder corresponds to
that of the normal 25 mm. lens. With anamorphizing
lenses, reflex finders give us a slightly distorted image
of the recorded scene and the straight finder will be
found preferable. When filming in this way, do not forget
to fit the special correcting lens provided for use with
anamorphising lenses. The correcting lens is mounted in
front of the field viewfinder. (18)
Film
Running
a) Speeds
The BEAULIEU R.16 provides a choice of
6 calibrated speeds. Speed setting is perfectly simple:
just turn the speed-setting knob (20) until the desired
speed setting coincides with the knob pointer. The normal
speed setting is 16 f.p.s. (24 f.p.s. if the film is to
be post-synchronized for sound).
The speed can be readily altered
during filming, to obtain slow or accelerated motion
effects.
Do bear in mind, however, that, by
altering the speed, exposure times are also altered.
Consequently, in order to maintain correct exposure, stop
settings will need correcting. For example, if at 16
f.p.s. the stop setting is f/5.6, then at 8 f.p.s. it
will be f/8 while at 24 f.p.s. it will be f/4.8, at 32
f.p.s. f/4 and at 64 f.p.s. the stop will be
f/2.8.
CAUTION: Never run an unloaded camera
at more than 32 f,p.s.
b) Tripping
a. Press-button
tripping
This is quite simple: keep your finger
pressed on the press-button (15) as long as filming is
required. For continuous runs, press on the trip button
and lock it by applying a quarter-turn twist to the
button. When set, the film will run continuously until
the power of the spring motor is spent.
To stop the continuous run, release
the trip button by giving it a quarter-turn twist in the
reverse direction.
b. Flexible cable
trip
A flexible cable, supplied with the
camera [when new] screws into an internal thread
provided in the trip button (plate 2, 22). The flexible
cable assures intermittent or continuous run release
control. When using the flexible cable trip the camera
should be operated on its tripod - a procedure that
should be followed as often as possible, to assure the
highest degree of camera stability.
c. Grip handle
The grip handle greatly facilitates
camera holding. The shape of this transparent polyester
handle is perfectly functional.
The handle screws into a brass socket
(12) located on the lower section of the case slide. It
is secured to the camera by a small locking lever (pull
back to lock).
How to Hold Your R.16
1. Camera without grip
attachment.
Left hand under the strap, palm
against the lid, camera firmly held between palm and
fingers. Right hand adjusts focusing ring, then supports
camera, palm applied on underside, forefinger on trip
release.
2. Camera with grip
attachment.
Right hand always grips handle. Left
hand makes focusing adjustments. Camera held against
forehead, eyecup against operator's eye.
d. Electric motor
When the owner of an R.16 makes
frequent use of his camera, the BEAULIEU electric motor
will prove of considerable assistance. The motor is of
barrel shape, with a drive pinion at one end and a
contactor cap at the other.
Installation: remove the protecting
cap from the drive pinion, screw the motor into the
socket provided on the side of the camera casing (11).
The supply cord is plugged into the motor receptacle and
into the socket of the battery bag. Switch-on by rotating
the contactor cap clockwise to the next setting. The
motor will turn over slowly, in the unclutched position.
Actuate the trip control (press-button or flexible
cable).
The motor automatically clutches-in
and continuous filming begins - if required, until the
spool is fully spent. Trip off action de-clutches the
motor drive. The motor then continues to run slowly "in
neutral." To switch off, twist the contactor to the next
setting.
c) Trip lock
The trip button can be locked by
screwing the knurled ring (15) mounted at the back of the
press button.
d) Counters
With the and drive mechanism fully
wound up, the total duration of film run is 35 seconds,
corresponding to 4.5 m. of continuous film run. Always
keep a safety margin of spring drive. You should acquire
the habit of automatically cranking up after each
sequence.
A footage counter (6) graduated in
meters (top scale) and in feet (bottom scale), indicates
the length of film still available for filming. The
average length of lead-in strip corresponds to the
portion of the drum comprised between A and the first
reading.
The frame counter is observed through
the bottom window (8). One complete revolution of the
scale corresponds to 100 frames. Between two passages of
the 0 graduation, frame readings appear successively in
even readings, from 2 to 98. Odd readings are indicated
by lines.
A knurled knob (9) located next to the
frame counter, permits counter zero resetting so that the
precise starting point of the next sequence can be
noted.
Special
Provisions.
Reverse run facilities are required
for lap-dissolve and multi-exposure effects. A reverse
motion crank is used for reeling-up. Before using the
reel-up crank, always cover the lens with its lens cap.
Release the crank handle (10) from its non-operative
position and pivot it about its hub. Now, rotate the
handle until the flats engage. Start cranking at a steady
rate, not too fast, in the direction indicated by the
arrow (engraved on the handle). Always bear in mind
that:
1. The amount of reel-up should
exactly correspond to a given span of "shooting" in the
forward direction. You must, accordingly, reset the
footage counter to zero before proceeding with a
lap-dissolve or double exposure. After 4 to 5 seconds of
forward run, note the exact footage reading.
2. During the reverse motion (back to
zero reading) the lens cap must again cover the
lens.
3. But don't forget to remove the lens
cap before re-exposing your film.
4. Reverse motion automatically
rewinds the motor spring mechanism. The extent of reverse
motion is therefore limited to the rewind capability. In
view of this limitation, reeling-up should preferably
take place after a fair proportion of the spring pwoer
has been spent.
5. There is no risk whatever of "film
pack-up" during reel-up, the functions of the two spools
being inverted: the feeder spool thus acts as a take-up
spool and vice-versa.
Single frame filming
A single-frame release socket is
provided at the side of the camera. A flexible release
cable scres into the threaded bushing of the socket. This
arrangement necessarily implies the exclusive use of a
flexible cable for single-frame release and, also, the
quasi-necessity of tripod mounting for the camera. This
provision was deliberately adopted by BEAULIEU because
absolute camera rigidity is required for accelerated
motion filming (cloudscapes, growth of plants
etc.)
In single-frame recording, 16 f.p.s.
corresponds to 1/24 second of exposure time. At 24 f.p.s.
and over, the exposure time is 1/32 second and at 8
f.p.s., 1/14 second.
Timed Exposure
Another socket, located at the front
of the camera (plate 2, 23) receives the flexible release
cable, providing still exposure control (letter P on the
camera). Trip action holds the shutter open during the
exposure time required by ambient light conditions. The
next frame automatically slides into place when the
shutter closes. Naturally, for still exposures, the
camera should be operated on its tripod mount. Times
exposure is extemely valuable when filming in dimly lit
surroundings (church interiors), the scene being recorded
in successive stills of, say, one second exposure. You
mentally count the seconds, pressing the trip over the
odd counts and releasing over the even counts. The method
assures the necessary uniformity of exposure.
Loading
(see plates 3 and 4, in Main
Pictures)
Daylight loading is permissible, but
choose a dimly lit room, or, if exposing outdoors, a spot
in the shade.
1. Unlock the reel-up crank handle
(5), swivel the handle to its operating position.
Wind-up, cranking (but, don't overcrank) clockwise
(direction clearly indicated on the handle). Reset the
handle to its non-operative position: turn handle about
its hub (disengaged position) until it fits on its
locking lug.
2. Release lid lock and open. Take out
the take-up spool (supplied with the camera), retracting
the zero-reset pawl clear of the spool (plate 3,J). Open
the gate pressure plate (plate 3, F).
3. Pull out 40 or 50 cm, (about 20
in.) of film length from the feeder spool, place the
spool on its spindle (plate 3, A), fitting it correctly
over the square tip (plate 3, C). The film must be
positioned so that the film feeds out in the downward
direction. The spool is securely locked by balls blocking
the inner flange.
4. Insert the film between the upper
drive (plate 4, D) and the drive guides (plate 4, K).
Film perforations must position themselves over the
corresponding actuating teeth. Check, by pulling lightly
on the film, that the teeth are engaged correctly. After
looping the film, as shown on plates 3 and 4, insert it
into the gate. Close the pressure plate (plate 4, F). If
the film is correctly inserted, the pressure plate will
mate perfectly over the gate. Check this condition by
giving a light downward pull to the film.
The sprocket claw should position
itself into one of the perforations and hold the film
securely.
5. Apply the correct loop to the film
and slide the film between the drive guide and lower
drive (H), following the same procedure as for the upper
drive.
6. Insert the lead-in strip into the
slot on the hub of the take-up spool, wind it over the
hub (3 to 4 turns), checking that it is securely fixed in
the slot.
7. Keep the zero-reset pawl clear of
the spool, place the spool over the spindle (I), fitting
it securely over the square tip (same procedure as in the
case of the feeder spool).
Press the trip button, unreel a few
inches of film to check that everything is operating
satisfactorily. The size of the two loops should remain
constant.
8. Close the lid of the camera.
Incidently, the interlock system permits lid locking only
if the camera is properly loaded.
9. Run the film until the perforations
are visible through the monitoring window or until the
footage counter moves from A to the first footage
indication.
Unloading
The indication that the useful length
of film is approaching the end of its run is provided by
the appearance of the letter F on the footage counter;
Keep filming until the letter F has fully registered on
the dial. Now, open the camera in dim light and, if
necessary, reel up, by hand, the last few inches of film
still engaged on the teeth of the driving
mechanism.
Retract the zero-reset pawl clear of
the spool, remove the spool, while maintaining the film
in good reeled-up condition.
Maintenance
A. LENSES. - The lenses must be kept
in spotlessly clean condition. External parts will be
wiped with a soft non-fraying cloth. Never dampen the
cloth.
When you finish filming, always
replace the protecting cap ovr the lens.
B. GATE - Clean frequently (every
three or four spools) with the small brush supplied with
the camera [usually missing with second-hand
cameras]. Opening the pressure plate provides ample
clearance for adequate brushing. Similarly, the drive
elements are easily cleaned once the drive guides are
pulled out.
C. REFLEX SYSTEM - The mirror and
ground-glass lens are reached through the filming
aperture. The mirror will become visible once the lens is
removed. If that is present on the mirror, blow it away
with the help of the handblower [usually missing with
second-hand cameras]. To reach the ground-glass lens,
located to the left of the filming aperture, release the
trip button fully. Now crank the reverse motion mechanism
until the mirror reaches its bottom position (i.e.
shutter open). It is now quite easy to reach the field
lens with the handblower.
D. LUBRICATING - Theoretically,
lubricating should be left to Beaulieu. After a period of
three years, the camera should be returned to a Beaulieu
Agent for routine maintenance inspection and lubrication.
[note: i do not now the address of a Beaulieu
agent]
Camera Registration Number: The
factory number of your camera (which should be quoted
every time you deal with your BEAULIEU agent) is visible
inside the plug of the electric motor drive
socket.
And now, before you start shooting
remember these golden rules:
As the owner of a BEAULIEU camera, you
are fully justified in expecting perfect results. You
will get them . . . but only so long as you never forget
the essentials of film making. You probably know them,
but they need stressing over and over again:
a. A film consists of a succession of
scenes which should never exceed 15 seconds. Actually, 5
seconds will suffice if the subject is static. If the
subject moves, 10 seconds will be ample.
b. The pictures must be clearly
defined, a condition that requires:
1) Accurate focusing. Easily
achieved with the reflex viewfinder of the R.16
2) Correct diaphragming. Use and
abuse of your exposure meter.
3) Camera stability. Steady your
hold by leaning against a fixed point or surface. Use
a tripod whenever possible.
c. Alternate shot distances
1) change from close-up to
medium shots between two successive shoots
2) Switch-over from one lens to the
other
d. Don't abuse the use of
lap-dissolves. Insert them, for instance, between two
titles.
e. Stick to a rough
"script"
f. Be exacting, even critical, in the
appreciation of your personal productions.
Top of Page