1

3

10PLATE 1

4

5

PLATE 213

16 'PLATE 3 '

\-- 25

24 I22

PLATE 4

28

R8 correctl yloaded

PLATE 1

I. Reflex viewfinder eyepiece

2. Eyepiece adjustment lever (to suitoperator's sight)

3. Winding crank handle

4. Footage counter (feet)

5. Footage counter (meters)

6. Tripod or carrying strap fixing bushing

7. Variable-aperture lever and 3-Positionlocking knob

8. Single-frame release socket

9. Continuous drive release button

10. Speed setting knob

2

PLATE 2

12. Reverse motion knob

13. Cover locking knob

14· Frame counter

15· Frame counter zero-reset

PLATE 3

16. Feeder spool spindle

17· Spool locating stud

18. Upper guide roller

19· Floating pressure plate

20. Film gate

2J. Film guide

22. Lower guide roller

23· Take-up spool spindle

24· Footage counter lever

25· Cover fixing bush

III PLATE 4,

I 26. Feeder spool

27· Film circuit

! 28. Take-up spool

l

The lucky owner of an 8 mm BeaulieuReflex camera should have no difficulty inshooting good films, right from the start,if he observes the following simple instruc-tions, even though photography or film-making may be entirely new ground forhim.The instructions closely follow the naturalsequence of operation from loading tounloading.Another chapter is reserved for thedescription of special effects which can beeasily obtained, with a minimum of "know-how", with this advanced cine-camera.Beginners are also given a few hints andtips on how to avoid the usual technicalmistakes of neophyte cameramen.Finally, a special chapter is devoted tovital advice on how to maintain yourcamera in perfect condition.Naturally enough, this small handbookwill not provide answers to all the technicalproblems which you will meet as your skillincreases. This will be the task of yourBeaulieu Cinema agent. Beaulieu agentsare appointed on the strength of theirtechnical competence and "service-ability".They will be delighted to oblige.

3

1. Free the winding crank handle (3)from the fixi.ng stud. Pivot crankthrough 1800 about its hub and wind-upfully, turning in a clockwise direction.Do not wind beyond stop Iirnits. Againpivot the crank handle 1800 about itshub, turn anticlockwise to bring handleto locking stud.

2. Open camera lid by unlocking knob (13)in direction indicated. Remove emptyspool supplied with camera.

3· Reel-out 30 to 40 cm of non-exposedfilm and place film spool over its spindle(ph. 3-16). Check that locating lug (17)is correctly engaged into spool squarerecess.

4. Pull out slightly the floating pressureplate (19) and insert film between plateand gate (20) after threading it alonzarrow-indicated path, over upperroller (18). The film also passes betweenthe gate and the film guide (21) andover the lower roller (22). Check thatfilm is well engaged in the gate: thepressure plate should snugly press uponthe gate.

5. Bend end of :film in the shape of a clip

I -GENERAL INSTRUCTIONS

PreliminariesI. Load your camera with a standard

7.50 m spool.2. If your camera is a type T.R.8 (j-Iens

turret), select lens to suit scene to beshot.

3· Estimate light intensity of the scene,either by means of photocell light meteror from table on page 9. This data willbe used to adjust the diaphragm setting.

4· Frame scene by looking through theviewfinder. Focus by means of therange ring on the lens.

5· Set filming speed to required value.6. Trip release button and begin shooting.

1-R 8 Loading Procedure

IMPORTANT. Never run an unloadedcamera at more than 24. frames jsecond.Loading is performed under conditions ofdimmed lighting. Select a dark or shadedspot for this operation.

4

of I to 2 ern length. Insert into slotof hub of empty spool. Wrap tightly3 or 4 turns of filrn over spool hub.

6. Pull counter feeler clear of film, bymeans of lever (24) and place emptyspool over take-up spool spindle (23).positioning locating lug as in the caseof the feeding spool. Release tripbutton (9) to run a few em of film andcheck that everything is in order.

7. Close camera lid:a) Press on locking knob (I 3);b) Turn locking knob clockwise. Fold

key down, flush with camera body.

2 - Lens Selection

A . If your camera IS a BeaulieuModel M. R. 8

In common with all Beaulieu cameras,your Model M.R.8 can be equipped with anystandard lens, with type-C mount (I5.8 1=1

dia -32 threadsjinch- normalized thread-ing length not exceeding 3.8 mrr't).If your camera is equipped with a "normal"lens (I2.5 mm focal length for 8 mm sizefilms) you can tackle most subjects. Howe-

ver, putting the interchangeability featureof your camera to good use, you can alsoemploy a comprehensive range of extralenses of different field angles. For ins-tance: "wide-angle" lenses (focal length ofapprox. 6 mm) that cover a wide field ofvision, and a "telephoto" lens (35 mm andeven 50 nun focal length) which covers onlya restricted span of vision, but magnifiesand "scans" the details of the scene.There is an "optimum" lens for everyscene: optimize your movies by using thelens most suitable for the scene.

~I

If your M. R. 8 is equipped with a variablefocal length lens.This type of objective combines, in onesingle lens, the features of the normalrange of fixed focal length lenses. Thereis, accordingly, no need for prior lensselection: the operator simply chooses themost suitable field angle (wide, normal,telephoto... and all intermediate ranges)from observation through the viewfinder,and sets it by means of the knurled ringon the lens.

B . If your ca ,}7 era is a Model T. R. 8

In that case, the turret is equipped with3 lenses of different focal length, generally:

5

wide-angle, normal, telephoto, assuring threefields of different span.The lens to be used should be in the upperposition on the turret. Proceed as followsto bring it to its operating position: Holdthe camera with the left hand. Disengageturret-locking pawl by pressing on it withthe thumb of the right hand. Simulta-neously, the fore or middle finger of theright hand pushes one of the three lenses,rotating the turret clockwise. The lockingpawl can now be released. Continue toapply pressure to the lenses (withoutforcing) until the turret locks into the nextindexing position. The upper lens willthen be automatically set in the correworking position. Lenses are interchan-geable, as on the M.R.8. The turret acceptsall lenses with standard mounts. Relativelens position on the turret is immaterial.

Extension tubes and ringsDesigned for macrocinematography work,these lens extensions permit close-up filminzof very small items, making them appea~on the film larger than normally visibleto the eye.A complete set of exte.nsion tubes and ringsmay be obtained from any exclusive Beau-lieu agent. They are made in combinationform, so that they may be mounted eitheron 8 n1111or 16 1l1l11 cameras.

6

3 -Diaphragm Setting

Diaphragms have a light-gating function.They form circular orifices of variableaperture controlling the amount of lightimpinging on the sensitive surface of thefilm. By varying the diameter of theaperture, the luminous flux can be accuratelydosed to assure correct tone or color render-ing. Too much light results in over-exposure, too little light in under exposure.

How to estimate correct exposure?

a. Photo-cell exposure-meters

Whenever possible, use an exposure meter.When the window of the photo-sensitive.cell is pointed at the object to be filmed,the meter registers the amount of reflectedlight in the form of "stop" readings.To simplify matters, most meters are cali-brated on the assumption that a continuousfilm speed of 16 (or 18) frames-per-second(f.p.s.), corresponds to an exposure of1/32 second per frame, a speed of 24 f.p.s.corresponding to 1/48 (or 1/50) second.However, few cameras are actually timedon that basis. The R.8, for one, is timedto give a 1/50 seconde exposure at 18 f.p.s.

Consequently, the 1/50 second setting,provided on all exposure meter scales,will be used as the reference value whenthe 18 f.p.s. speed setting is employed.At other speed settings, the exposure will be

12 f.p.s. = 1/30 sec. per frame18 1/5024 = 1/7048 = 1/14064 =1/180

If, after processing, the films show consistentover or under exposure, the exposure metershould be verified by a specialist.

b. Stop setting chart

In the absence of an exposure meter, thestop settings indicated in the chart of page 9provide a fair method of estimation.With practice, you will acquire a flair forcorrect light evaluation and will no longerneed to refer to the chart. (See facingtable.)

4 -Focusing and FramingHaving selected your subject and decidedon a suitable lens and disphragni setting,you are about to proceed with the subject

focusing and framing part of the jobThis operation is capital for the successand quality of the film.You have, in the R.8, a camera equippedwith a remarkable reflex viewfinder designedto assure superior focusing and framing.POCUSillgis responsible for the definition ofthe recorded image. It is based on acorrect estimation of distance. With non-reflex cameras, the distance from camerato subject is assessed in meters or feet andset on the focusing ring of the lens. Thismethod is generally adequate but does notguarantee correct results.Correct range appreciation is often difficultto achieve, and such errors will be apparenton the film. The operator may also beover-hasty and be satisfied with a roughapproximation when he does not completelyforget to set the range... Now, definitionis generally constant when the subject iswithin the 30-meter and over range. Atshort range, this is no longer true. With alonger focal lens, a subject which is Sharplyfocussed at 3.50 m kill be less sharp at 4 m,out of focus at 5 m.The Beaulieu Reflex Viewfinder systemdoes away with any possibility of range-setting error. The principle of operationis the following: Having traversed the lens,the light flux is stopped bet ween the lensand the film by a shutter curtain. A

7

mirror is mounted, at 450 relatively to thefocal plane, on the shutter (see fig. a).The mirror receives the light and reflects itto a ground glass. The eye, applied to theeyepiece of the viewfinder system, examinesthe image through a lens with a magnifiyingpower of x 20.

Sketch of the R.8 Refle'x Viewfinderzc-ccwer

Three-surface magnified viewing lens

reflector priam ~~

~"'~-tield'''I'~~~ ~ -1 .J

F~t· Adjustable eyepiece

When in operation,the aperture between

the two shutter curtainsis variable

Mirrors are attached totwo sliJiino type shutter

curtains at 450 angle

Cameralens

face 0

The sliding-type shutter then retracts clearof the light path and the image impressesthe sensitive surface of the film. In stepwith the film actuating motion, the shutterrises, the mirror catches the image, reflectsit to the operator's eye, again retracts free

8

of the light path, unmasking the film, th esequence being repeated at a rapid rate(18, 24, 48 times per second), dependingon the speed setting. This constituteswhat is known as "reflex viewfinding",the operator viewing exactly that imagewhich is actually being impressed on thefilm.The Beaulieu Reflex system offers oneoutstanding advantage: roo % of the lightgated by the objective reaches the viewer'seye. Hence, the term of "ultra-Iuminous"used to define the Beaulieu system. This"plus" feature permits accurate and comfor-table focusing, even at very small stops.The unique characteristics of the BeaulieuReflex system warrant a few additionalexplanations. If Beaulieu had utilized astraight reflex system, whereby the image isdirected from the mirror directly to theobserver's eye ("aerial image"), the image,though very luminous, would lack definitionat certain ranges, so that focusing would bedifficult to achieve, especially with longfocal-length lenses.Beaulieu uses a ground-glass field lens placedbetween the viewfinder eyepiece and themirror. This lens "freezes" the picture,giving optim.um definition at selected ranges.To prove this point: Set your camera fortele-lens shooting-set focusing (range) ringto C/J (opposite red mark)-point camera

STOP SETTINGS AT 18 F.P.S.

Cloudless noon 10b~~:;r~~~~~I!.m.1Su n obscuredsunlight mer sunHght (be. by

(11 a.m. to4p.Il1.) forfetll a4·m. and white clouds

a er p.m.

Sun obscuredby

heavy douds

Subject Lighting A B A B A B I A I B1--B-r-icr-l-lt-"-(-sn-o\-v-,I--fTl-·o-n-7t'----'=-----"-f;:-.-9-1~~f. 6,3 f. 12,5 --.!. 4 f. 8 I_xx

clouds, sand side ~ f. 12,5 ~ f.12,5~' f~ _ ~ ~ _beach) against light f. 5,6 f. I I f. 5,6 f. I I f. 4 f. 8 I x x

Light (sea, front f. 8 If. 12,5 f. 5,6 f.I'I f.4 T--I~-x--flowers against side f. 6,3 [lI TS,6 rrr £.4 - TS----x- -----x-skyscape) --a-g-a-inst light f. 4,5 1f.-9- -f'-4-,5--f.-8- -f-.-4- ;-f-.8- ==x== -x-r-

Average (land- front f. 6,3 f. 12,5 f. 4,5 f. 8 x xsca1?e't fiO

Iwers side TS:6 f. I I f. 4,5 f. 8 _'- f. 5,b I x x

agalns awn Il_b-=a,....cl_{::;:gI_·O_U_l_ld"")'--_Iag_a_l_·n_s_t_l_ig_l_lt__ I~ f. 8 f. 4 f. 6,5 ~ x

D~ 1(in shadows) side f. 4 f. 8 f. 4 f. 6,5 x x x x

\ Kodak PanchroColumn A: film speed range: 10 to 12 ASA (22-23 Scheiner) \ Kodachrome Daylight

( Gevaert Micropan

)

Super Pan GevaertColumn B: film speed range: 32 to 40 ASA (ou 27-28 Scheiner) Kodak Super XLL1111iereLurnipan

Ferrania 280

If the required stop setting is not marked on the lens, the aperture can be set by rough approxi-mation (opening is gradual). The letter x indicates that, for obtaining an accurate stop setting,a photo-cell exposure meter is essential.

9

at sky. (If you normally wear glasses, youcan take them off. Simply adjust eyepieceto your sight, rotating ring (2) to obtainmaximum definition of grain pattern ofground glass.)Your eyepiece is now adjusted to youreyesight, providing optimum vision withall lenses. Now, point at an object withinshort range, say 3 meters. The focusingring being set to infinity, the image viewedin the viewfinder will be out of focus.Gradually adjust the focusing ring: theobject will come into clear focus and finallyassume optimum definition. If youovershoot the point of optimum focusing,the image will again become hazy. Returnto the point of accurate focusing.You will now note that the backgroundis out of focus. Actually, this contrastbetween the definition of the selected subjectand the softness of the other levels is respon-sible for the "3-D" impression that addsquality to your images.This short practical approach to "spatial"appreciation has, we think, brought outfor you the unparallelled advantages ofBeaulieu reflex viewfinding: you retainat all times complete "visual" mastery overyour filming.You can, while filming, shift the focusfrom ane subject to another, oragain gra-

10

dually bring that subject into focus, tointroduce a dramatic touch.Screening will bring no unpleasant surprises,since you were perfectly aware of what thescene looked like to the camera when youwere actually filming.Naturally, framing problems are automa-tically solved: unless deliberately introduced,"chopped" heads and poorly centeredobjects will never be found in your films.

5 -Filming Speeds

Filming speed is the number of frames persecond moving past the objective (normalspeed: 16 f.s.p.). However, the 16 f.p.s.rate is not indicated on the speed settingknob (10) (which has an IS f.p.s. setting).Why? Because it was observed that, byslightly increasing the f.p.s. setting, picturequality was improved. You will find that,shooting at IS f.p.s., assures improvedscreening smoothness.

Other speed settings are provided:

• 12 f.p.s. for moderate "accelerated-motion".Also used to compensate for a lack ofambient lighting: the actual increase in

exposure time obtained with the lowerspeed is equivalent to an extra half stop.

• Speed settings of 24, 48 and 64 f.p.s. provideincreasingly slower motion effects. Theaction of the speed control is continuouslyvariable, that is, all intermediate speedsare obtainable. The operator can change,

at will, from accelerated to slow-motionthroughout the filmed scene. However, itshould be borne in mind that, by alteringthe speed, exposure times are simultaneouslymodified and, accordingly, the stop settingsshould be adjusted in accordance with thefollowing table:

11

Stop setting If. 1,4 1,71 2 12,41 2,8 3,4 4 ~I~ ~ _8_1_9_ _~113-161- ----- ----

I

I48 24

118 12

48 24 18 12

I48 I I 24 18 12 IExample .............. ..........................-> 48 24 18 12 .. ......••......• -.-"

I I I I" 48 24 18 I I12I I24 18 12

48 24 18 12I I

I

48 24 18 12 iI I I I Ii

Assuming the exposure meter reads 5.6 at18 f.p.s., that is, an exposure time of 1/50second, then if the speed setting is alteredduring shooting, the following stop settingsare found along the same line (between thetwo arrows):

at 48 f.p.s f. 3.4at 24 f.p.s f. 4.7at 12 f.p.s f. 6.3

6 - Shooting

A - TrippingEverything is set: diaphragm setting, focu-sing, speed. But before you press on thetrigger release, have you got the right holdon your camera ?

a. Camera wirheut grip attachment

Camera held in right hand, palm of lefthand pressed against lid, fingers wrappedover the camera. Right elbow against thebody. Rubber eyepiece is pressed againsteyebrow.

b. Camera with grip attachment

Camera hold is substantially improved andfacilitated by the Beaulieu R.8 grip.

12

An attractively styled attachment of func-tional design, this transparent polyestergrip screws into the bushing (6) providedunder the camera (normally used for fixingthe wrist strap). The forefinger of theright hand, guided by the grip grooving,quite naturally slips into shooting position,against the trip button.The left hand remains free to adj ust focus-ing, the eye remains fixed at the eyepiecewhile shooting. I

Ic. Tripod operation

If you are striving for perfection, you shoulduse a tripod stand which will assure realstability. This is particularly valuablewith tele-lenses, when the slightest displa-cement is amplified and causes "jitt ry "pictures.The R.8 screws on the threaded bushing (6)used for fixing the wrist strap. Triprelease is achieved: by trip button or byflexible trip cable.

Trip ButtonSimply press on the button (9) and keepbutton depressed as long as you wish tofilm.If you are filming a continuous sequence:press on trip button and give quarter-turntwist that will lock it in the "running"

.r'\

position. Camera will continue until chivemechanism has run down. To stop filming,give another quarter-turn twist, whichreleases the button back into the "off"position.

Flexible trip cableA flexible trip cable, provided with thecamera, screws into the internal threadingof the trip button. Intermittent or conti-nuous trip control can then be assured bymeans of the flexible cable. The cable isused whenever the camera is tripod-operatedor when the camera must be kept absolutelystill.

A nti-t1'iP loclling:Push the variable-apertureshutter lever (7) fully home.

B - Film-running time

With the drive mechanism fully wound,total running time is 30 seconds, at the rateof 18 f.p.s. You should get into the habitof winding-up the motor after each scene,so as always to have some driving powerin reserve.The black and white or color film which youload into your camera is known as a "double-eight" film. That is, the film has an

,I\

overall width of 16 mm, but is only impressedin two successive strips of 8 mm width (thereel being inverted after the first lengthhas been impressed). Actual reel lengthis 7.50 m overall impressed-track length:IS m. The two half-strips are subsequentlyseparated and spliced into one 8 mm filmfor screening.

Film running is monitored by means of afootage counter, providing in meters (ear-dout 5) or feet (readout 4) inclications of theremaining length of film available forimpression.

Counter actuation is controlled by a "feeler"finger (24) fixed to the shaft and whichgradually moves away from the hub of thetake-up spool as its load increases. Filmingeffectively begins immediately the red(feedin) section has rotated past the indexline on the dial. When the red (film-ended)section reaches the index line on the dial,filming is over. However, r1111the filmuntil the counter comes to a standstill andthe tell-tale hum of the spool drive ceases.You then proceed to invert the spools inorder to impress the second half of the film.

To change, or invert the spools: open thelid, by means of button (r3). This shouldbe done ill a well-shaded spot, and reel-upthe last few inches of :film which may stillremain in the gate, by rotating the spool

13

by hand, holding the feeler finger clear bymeans of lever (24). Remove spool, invertit and place it over the feeder spindle,proceeding as per loading prescriptions.[aturally, the (empty) feeder spool will

be placed over the take-up spindle (23).

Note: The same procedure will be followedfor unloading the camera after the full 15 mlength is spent.

14

I I - SPECIAL EFFECTSThese may be either "movie" effects desi-gned to make the film more attractive or tofacilitate changeovers from one scene toanother, or may relate to a cinema techniqueknown as "animation".Special effects are achieved by means of thevariable-aperture shutter system and reversefilm drive. Animation is a frame-by-frame operation.

1-Movie EHectsThe variable-aperture .shutter is a mecha-nical system (see fig. b) which consists inreducing or in increasing, as required, theamount of shutter gating from maximumopening to total masking. This specialfeature of the Beaulieu R.8 permits lap-dissolves from one scene to another, or onerange to another.Shutter variation is controlled by a lever (7).Forward movement causes the shutter toclose. Rearward. movement.. to open.The lever can be locked in the followingpositions:

shutter openshutter half-open

shutter closed

To lock lever: push knob towardsjlever axis.To unlock: push knob away from lever axis.

15

a. Fading-in, fading-out

With this facility, a scene can be ended bygradually dimming the linages to totalblanking and, conversely, to start a scenewith images gradually emerging from com-plete darkness into normal brightness.Lap-dissolve effects should preferably beachieved with the camera mounted on itstripod, so as to be able to concentrate onthe operation of the variable-aperturesystem.

Fade-outRelease lever from the "shutter-open"setting. Press on hip release and adjustvariable-aperture lever by pushing it home(smoothly and gradually). Film drive willthen automatically stop. The operationtheoretically takes 4 seconds-hence, the0-1-2-3-4 markings on the hub disc. Startthe operation with the "zero" count and tryto keep count and markings (red index)in step.Once the operation is completed, the levercan be locked in the "shutter closed"position, so as to avoid accidental re-starting.

Fade-inThis is the reverse operation. It can imme-diately follow a fade-out or be used withoutprevious fade-out, to introduce a new scene.

16

Unlock level- from "shutter closed" positionpress on trip release and bring lever back,counting the seconds. Lock the lever.Naturally, these operations can be performedover a period of time shorter or longer thanthe usual 4 seconds, depending on the desiredeffect.

/

b. Lap-dissolves

Lap dissolves provide a transition betweentwo scenes by super-imposing (double-exposure) the two scenes during a certainperiod of time, simultaneously fading onescene out and fading the new scene in.Lap dissolves entail the use of the framecounter (q) and reeling-back (or reversedrive).

Frame counter

The frame counter is actuated by a pinionmeshing into the perforations of the film(see fig. c). The forward or reverse motionof the film causes the rotation of the pinionand associated counter. The system pro-vides frame-by-frame readings of strictaccuracy.A knob (IS) projecting over the center ofthe dial escutcheon positions a red indexline (to zero frame reading or any otherreading), so that the number of spent framesover a given period of shooting can bereadily evaluated.

Note that the dial readings are from I to100 and that, for prolonged scenes,J 00 should be added to the reading observed.

Ace/up knob

Lug on lid clOsing knobclutchlns-out counterwhen lid is removed

Frame counterdial

Face c

lVIerits of Beaulieu frame counter

The frame counter is driven directly by thefilm; :film running can therefore be moni-

tored on the counter which also providesa means of checking whether the :film iscompletely spent before unloading.

Reeling-up (reverse film drive)

Reeling-up is carried out by means ofcrank (12) which, once pulled out, directlyclutches into the spindle of the feeder spool.The crank is then turned in the directionshown by the arrow, reeling-up the requirednumber of frames (monitored on framecounter).Note that the reel may offer a certainamount of slack about the hub of the feederspool. This does not effect correct ope-ration. However, it may be necessary totake-up the slack by giving the crank afew turns. When the reeling-up operationis completed, fold crank ring down.

A Unique Beaulieu R.8 FeatureThe lens never requires masking duringreeling-up.

Two cases may occur:- motor spring spent-film driving spro-

cket projects in the film gate, blockingthe reeling-up mechanism. The springmechanism should be wound-up (1/2 turnwill do), bringing the shutter to theclosed position and retractine the sprocket

- spring not quite spent: shutter is then

17

closed, sprocket retracted. Reeling-upcan take place without masking the lens.

T,ap-dissolve procedure

- Fade-out, counting the seconds-workout the number of frames correspondingto the elapsed time, e.g., 4 seconds at18 f.p.s. = 72 frames. Set the framecounter index to 72 and reel-back to zero.Re-start, feeding in the new scene duringa period of time equal to that of thefade-out sequence.

Other application of the variable-apertureshutter

The variable-aperture shutter affects theexposure time and consequantly modifiesthe amount of light gated to the film. Bysuitably combining shutter adjustment anddiaphragming, the recorded images can beaccurately controlled. For example, onemay, without altering the film speed (savingof film material), "shoot" mobile objects(racing cars, horses, etc.) by cutting downthe exposure tin1e (shutter to half-closedposition). Sharper images will result.

aturally, the diaphrag setting will haveto be increased by one graduation (aperturedoubled).Increasing the lens stop entails a decrease offield depth permitting "soft" or "hazy"

18

effects, with subject in sharp focus in out-of-focus background.The variable-aperture shutter can also beused to reduce the amount of light (case ofhigh light intensity and fast emulsions). Withthe variable-aperture knob set to the "half-closed" position, one full stop setting canbe gained, without recourse to "neutralgrey" filters of doubtful speed factor.As you gradually master these notions andgain experience, you will no doubt becomean R.8 expert, always striving to get thebest of your camera's unique possibilities,with the assistance of the variable-apertureshutter.

Super-impression

Super-impression (deliberate double or nrult iexposure) may prove of great value whenfilming, say, firework displays, to providea striking impression of widespread pyro-technics.The prime advantage of the R.S's "totalreelup" is that it permits part or totalfilm super-impression.Also, the feature permits the substitution,for an unfinished black-and-white film, ofa color film, and conversely.This is accomplished by reeling up the

impressed length, counting the numberof frames. 'When the film is again utilized,the film is run (with the lens duly masked l)through an equal number of frames. Youare then ready again to shoot the balanceof unexposed film on the reel.

2 -AnimationThis technique consitss in snapping a seriesof "still" pictures of an object or scene, theelements of which are slightly displacedbetween each successive still, so as toproduce motion when the film is screened.The technique is used for the productionof animated cartoons or to reproduce, overa short period of time, phenomena thatnormally take place over an extended periodof time.For instance, changing cloudscapes can befilmed as a series of separate "snap" shots at10 see, 30 see or r-rninute intervals, depend-

ing on the required speed. The growth ofa plant may consist of a series of shotstaken, for instance, every 24 hours. Proceedas follows:Screw into external release brushing (8):the flexible trip cable-press on trip control.Note that, for animation work, the R.8camera must be mounted on a tripod anda flexible trip cable used, to assure absolutestability.For individual frame filming, the followingexposure times will be used:at IZ f.p.s. I j60 secondat I f.p.s. = jlIOO second

Note: Before pro eeding to individual-frame shooting, set variable aperture leverto half-op n position; otherwise trip cablecannot be screw d on bushing. Above timesettings assume that variable-aperture leverin on that position.

19

III AMATEUR MOVIE MAKING: BASICS

A film consists of a series of scenes whichthemselves consist of a succession images.

The Scene

Remember the golden rule of unity: unityof place - unity of time - unity of action.

Unity of PlaceRestrict your filming to a speci:ficportion ofterrain: that portion which is framed inyour viewfinder and no other. This will,in theory, exclude panning (side or verticalmotion of the camera). used and abused bybeginners. If you film a wide-field scene,break it down into successive static scenes.If you must pan-over, please bear in mindthat:I. The primary purpose of panning is to

link-up to fixed scenes.2. Panning must be performed very slowly:

goOLe., a quarter-traverse in IS seconds.

Unity of TimeBeginners tend to "shoot away", to switchtoo rapidly from one scene to another.

20

The result is a series of disconnected"flashes". Minimum scene length, at18 f.p.s., should be 3 to 4 seconds. Makeit a habit to COLUlt,mentally, the secondswhile filming a scene. Maximum durationfor a given scene should not exceed 8 to10 seconds, unless the scene is of exceptionalinterest.

Unity of Action

Interest must always be centered 011. agroup, person or object. Do not scatterinterest by crowding too many people orobjects into the scene.

Picture Quality

Close Ups

rnrn filming thrives on close-ups. Thepictures should be as "large" as possible.Do not try to pack-in the whole horizon.Your picture should be unburdened andsimply composed. Distant landscapes aredisappointing. Close-ups never are.

Level PicturesYour pictures should be level.zontal and vertical items inKeep them parallel with your

Use hori-the scene.viewfinder.

Stable PicturesEvery movement of the operator is reflected,often amplified, on screening: steady yourhold, whenever possible by supporting yourann or the camera on a static object.This is, in particular, essential when atele-lens is used. Under such conditions,the Beaulieu R.8 reflex viewfinder assuresyou films of exceptional. quality.

Good Picture DefinitionEasy to achieve with the Beaulieu R.8reflex groundglass viewfinc1ing system.

Correct Exposure:Your best guide: an exposure meter. Cannever be used too often, when filming.This booklet has been deliberately writtenin an elementary style, so that beginnerswill know each step of the way. As youacquire experience and skill you will becomeyour own best critic. Your local Beaulieuagent will gladly refer you to his interestingcollection of books on film-making, whe-never you wish to go further.

21

second mirror appears. Clean it in thesame manner. To reach the ground-glasslens. located to the left of the filmingaperture, use the reverse motion crank,with the variable-aperture shutter leverset to "shutter-open". Once the twomirrors have been retracted in this manner,you will have easy access to the lens.

CAUTION

Never touch the mirrors or the ground-glass lens, even with the tip of the hand-blower. These delicate parts are easilyscratched.

MAINTENANCETwo requisites: a hand blower and a soft-hair brush, are furnished with your Beaulieu R.8

They will help to keep the main components of your camera in dust-free condition.

A. LENSES

The lenses must be kept in spotlessly cleancondition. External parts will be wipedwith a soft non-fraying cloth. everdampen the cloth."When you finish filming, always replace theprotecting cap over the lens.

B. GATE

Clean frequently (every three or four spools)with the small brush supplied with thecamera. Opening the pressure plate pro-vides ample clearance for adequate brushing.Similarly, the drive elements are easilycleaned once the drive guides are pulledout.

C. REFLEX SYSTEM

First, de-activate the motor by pressingon the trip button. Unscrew the lens.Bring one of the mirrors in front of the :filmaperture, by acting on the reel-up crankand on the trip button. If dust is presenton the mirror, blow it away with the hand-blower. Crank-back a little more: the

22

D. LUBRICATINGTheorically, lubricating should be left to us.After a period of three years, the camerashould be returned to a Beaulieu agent forroutine maintenance inspection and lubri-cation.

Camera Registration NumberThe factory number of your camera (whichshould be quoted every time you deal withyour Beaulieu agent) is visible on the innerface of the case, near the wrist strap bushing.

CONTENTS

Nomenclature of pm'ts indicated I, 2, 3, 4on plates pages 2 and 3

• General InstructionsLoading Porcedure 4Lens Selection 5Diaphragm settint; 6Focusing and Framing 7Filming SPeeds 10Shooting 12

• Special effects:Variable aperture and movie effects 15Fade-ins, [ade-outs, and lap-dissolves 16Reeling-up 17Double ex-posure and swper-impressions 18Animation 19

• Amateur movie-making: Basics 20

• Maintenance 22

Follow the adviceof your Beaulieu cinema Agentwhen you" think movies"

c a

Couderl el Dino Printed in France

f

Beaulieu "REFLEX CONTROLMCR 8 TCR8

II

The following notes relate exclusively to the new « Reflex Control» series. They re-place the following chapters:- Diaphragm setting - Chapter 3, p6, 7.- Stop-setting, table p. 9.The illustrations concerning the R 8 are, on the whole, applicable to the new models.There is, however, a minor modification in plate I, where slider (2) is replaced by a sidebutton (located on the right of the viewfinder) which is more convenient. You willalso note, on plate 3, a new improvement: guide roller (22) is now a rubber roller.You will also note that continuous filming is now controlled by flexible release (screwedinto the axial thread of the trip button), instead of by the trip button (p. 12).

DESCRIPTION AND PRINCIPLEThe two cameras are styled exactly like theclassical types l\ffi 8 and TR 8, except fora slight bulge at the rear, which identifiesthe presence of the light-control system.The operating procedure is the same as inthe case of the R 8, the only departure beingthat light intensity is evaluated throughthe viewfinder.There is now no need for a separate exposuremeter. The diaphragm is adjusted in thesame manner as on a camera of convention-nal type, i.e., by adjusting the stop ringaccording to the indications given by thebuilt-in viewfinder pointer.The camera - whether equipped with asingle lens or turret assembly - features

an annular photocell built-into the view-finder. A unique feature of this system isthat the photocell can utilize the light trans-mitted through the glound-glass lens.

. . .: a ::,::~::::::m-I-M- ,... 4. To cells

~

S. To Ollivano

6. Moving poln"r

1 Indumal;'

8. Unpolished Oloundglilss

9. Mirrol

lhe ilOfllulf bel",een Ihe twe shuUers,'variable. whill! filmu'Ig.

10. Two slodmll-Iype shulters

11. 3d sa'el)'-shuu~r

The photocell Amplifier Unit is energizedby I.3 volt mercury cells stored in a caseplaced at the back of the came.r~. An exter-nal switch controls three positions :- OFF red dot.- TEST yellow dot.-- OK green dot.

The photocell dri-ves, as a functionof light intensity,a shockproofgalvanometer ofspecial design.The pointer ofthis galvanome-ter moves withinthe viewfinder.

A potentiometer connected in the e~ergizingcircuit of the galvanometer proVIdes themeans of adjusting the system in accordancewith film and shutter speeds. An externalcontrol potentiometer is provided for~h:epurpose, at the rear of the camera. Thiscontrol is graduated in film speed (up to400 ASA) and shutter speed values.

OPERATING PROCEDUREUse the camera exactly in the same manneras any other R..s model, except for view-finder and stop adjustments. In other words,the following operations are modified:

Viewfinder ocular focusing.Lens-stop adjustment.

1) Viewfinder focusing andframing

Focusing and framing are accomplished inexactly the same way as for the normal R 8.The only difference lies in the adjustmentof the viewfinder ocular.Set the ocular focusing ring to the 00 index.Aim at the sky.The ocular is adjusted by means of knob (2)which replaces the viewfinder adjustmentlever.

Rotate the knob, while aiming at the. sky, to obtain optimum definition on thegrainy surface of the ground glass (1£ younormally wear glasses, you may take themoff for this adjustment and subsequentfilming).

Once the ocular is correctly focused, lockthe control knob by means of the lock knobprovided over the knurled ring.

2) Diaphragm adjustmentThe new system permits the utilization oflenses land filters of all types. The built-inviewfinder photocell takes care of correc-tions. The principle is also applicable tomicro and macro-filming. Indeed, in thosetwo cases, the built-in photocell provesof advantage, because, normally, the addi-tion of extension tubes. and sleeves entailsdiaphragm corrections which have to becomputed beforehand. Here, correction issimply applied by bringing the viewfinderpointer against the index mark.I - Before using the camera, check thecharge of the battery, proceed as follows:

et selector switch to TEST (yellow dotagainst index).- Adjust potentiometer by bringing yellowindex within 25-50 ASA range.

- Aim at a light surface. The viewfinderpointer should come to rest against the centerindex - or to the left of the index. If the

pointer de:fl.ects to the right, change thetwo cells.This can be done with the camera in theloaded condition, because the battery caseis located outside the camera. There is norisk of spoiling the film.To open the battery case, give the lock but-ton a half-turn and take out the two spentcells.Replace them by two fresh cells, fittingthem into the case wider side up. The twocells are always changed in sets of 2.

They are of the Mallory RM-400 type, asused in deaf-aid appliances. Beaulieu dealersstock them. They ensure 100 hours of conti-nuous service. The selector switch locatedat the rear of the "Reflex-Control" bulgeprecludes premature discharging. Just re-member to set the knob to OFF (red dotagainst index) before shelving the camera.The battery should be replaced at leastonce a year, even if the camera has not beenused in the meanwhile. t:.I:N2 - Filming. ~~- Set selector switch to ON (1'eddot againstindex).- Adjust potentiometer according to :filmASA rating by bringing the film-sensitivity

~----------~~--------~=========-----~~---------->

setting against the shutter speed used. Inthe case of film-speed ratings other thanthose indicated by the calibration, use inter-mediate positions.- "Aim" and if:The galvanometer pointer deflects full left:too much light.The galvanometer pointer deflects full right:not enough light.In either case, act on the stop-control rinzto return pointer to index mark. b

You can now proceed with filming, all thewhile maintaining correct el..-POSl;econdi-tions.The pointer must be kept against the indexmark.The following table shows the correspondencebetween the various film speeds.

ASA Scheiner DIN10 21 II /1012 22 12/1016 23 13/1020 24 14 /1025 25 IS /1032 26 16/1040 27 17/1050 28 18/1064 29 19/1080 30 20/10

100 2T 21/10120 32 22/10160 33 23/10320 36 26/10400 37 27/JO

IMPORTANTPrior to "f.ading-in" a scene, adjust the dia-phragm With the shutter on the wide-openposition so that, at the end of the fade-int~e point.er has returned to its normal posi~t.ion, agamst the index mark.If you wish to film without reference tothe built-in photocell, you may use the tablepage I!. However, you must allow for thefact that shutter speeds should be modifiedas follows:

Shutter speed f. p. s.

12 f. p. s.

Exposure time

18 f. p. s.

I-sec4°I

- sec65I-sec85I

-sec175I- sec

24°

24 f. p. s.

48 f. p. s.

64 f. p. s.

and, for single frame filming12 f. p. s. I

-sec4°I_sec

65I

-sec80

18f.p.s.

44 f. p. s.and over