Nizo S560 and S800

Nizo

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How to Make Movies with the Nizo S 560 and Nizo S 800

Contents

Abbreviated Instructions Drive Batteries Testing the Drive Batteries Operating from a storage battery or mains supply (AC) T esting the automatic exposure system batteries Checking the voltage of the exposure meter batteries Cartridge loading Filter Selector Exposure Control Split- image Rangefinder Power Zoom Ho lding the camera and operating the release Electrical remote release Using a tripod Automatic single frame filming Automatic single frames for speeded -up motion Automatic single frame fi lming in conjunction with electronic flash Slow motion filming Automatic lap dissolves Variable shutter Time exposures Synchronized sound recording Ultra Close -up shots Carrying the c amera

5 6 7 7 9 9 10 11 11 12 14 15 16 17 18 20 22 23 24 26 28 29 31 32

Automatic lap dissolve button

Power zoom buttons

I

-

Fi lm type indicator window

I

Electronic flashgun SO(:Ke't---

+--\...<lO ""

release socket

Automatic lap dissolve button

Power zoom buttons

Ligbt intake window for aperture scale

exposure system knob Exposure meter battery check button

â&#x20AC;˘ â&#x20AC;˘- +

Check window for automatic lap dissolve condition Main switch and motor battery check

=====--=-~Varia ble shutter lever

e

Abbreviated Instructions

Although we strongly recommend you to read all this instruction manual before you attempt to make a movie with the camera, you can start right away if you wish by following these simple instructions. All controls should be set to «red»

and white film set the selector to the «sun» symbol.

7.

Move the main switch back to the red dot.

8.

1.

Fold down the pistol grip until it snaps into position.

Adjust the view finder eyepiece to suit your eyesight.

9.

2.

Insert the film cartridge into the camera.

3.

Set the automatic exposure system knob on «autom» (red dot).

4.

Set the filming speed knob to <<18» (red dot).

Set the focus of the lens. The range finder need not be used when the focusing -ring of the lens is set to the red mark (12 ft.) and the zoom is set to the red mark (15 mm). This setting gives a depth of field from 6 ft. to infinity at an aperture of f /4.

10.

Set the required focal length and now press the re lease trigger.

5 Set the time lapse control knob to the red dot.

6.

5

When using the camera under daylight conditions set the filter selector to the «sun» symbol. Under artificial light set the filter selector to the <damp» symbol. For black

11.

After you have completed your film , set the main switch to «0».

Drive Batteries

The f ilm transport system and the zoom motor are electrically driven by six 1.5 volt batteries, located in aspec ial cartridge which is housed in the pistol grip of the camera.

If the pistol grip is in its operating posi t ion , press the lock button which is located immediately below the release trisger and swing the grip backwards .

Slide back the serrated catch and the battery cartridge will jump up a little.

Move the pistol grip into such a position so that the battery ca rtridge will slide out.

Unscrew the two serrated knobs, which will be found on the underside of the battery cartridge until the lid can be re moved. Insert six 1.5 volt batteries in the positions indicated on the inside of the cartridge. Replace the lid and screw down tight using t he serrated knobs. The pillars on the underside of the lid are of a different length so that the lid cannot be replaced the wrong way round . Insert the complete battery cartridge into the grip, and press lightly until the serrated catch clicks into position over the lug on the cartridge .

6

Operating from a storage battery or mains supply (AC) If the batteries have been inserted incorrectly in the cartridge the camera will not operate.

Testing the Drive Batteries

To test the drive batteries, push the main switch forward to the black dot and hold it in this position.

The pointer on the aperture scale in the viewfinder must move past the figure 8, which is coloured red . If the pointer fails to reach this mark, the complete set of batteries must be replaced.

7

The ÂŤ0" position for the main switch, not only disconnects all the camera circuits and therefore conserves the batteries, but also avoids accidental starting of tho camera. When the pistol grip is folded back only the drive battery and power zoom circuits are disconnected.

The camera can also be operated from a 6.5 to 10 volt DC supply such as a storage battery, or mains charging unit (AC) .

In either case the battery cartridge should be removed from the pistol grip. An option3.1 accessory cable 'connects the camera to the nickel-cadmium or Barrix storage battery, or to the mains section (AC) of the Braun F 80 or F 800 electronic flash gun .

The socket for this cable is located on the camera near the variable shutter lever. The other end of the cable is con- .. nected to the contacts on the storage battery or the mains section (AC).

A single charge of the storage battery is sufficient for transporting approximately 30 Super 8 cartridges. The voltage is checked in exactly the same manner as when using the camera with normal batteries ; the main switch is pushed forward to the black dot and the pointer must pass the figure 8 in the viewfinder (see the previous section of these instructions).

and storage batteries for the Braun F 80 and F 800 can be obtained from photo dealers. The information in their instructions for use apply to the operation of the power supply for Nizo cameras.

When used on the mains supply (AC) w ith the charging plug, the storage battery may also be used as a buffer. The mains section (AC ) offers the advantage of practically unlim ited service. Mains section (AC )

~ "

~ 24 54

8

Testing the automatic exposure system batteries

Checking the voltage of the exposure meter batteries

The automatic exposure system is driven by two 1.35 volt batteries. The battery compartment is located in the base of the camera under the pistol grip-the compartment cap can be unscrewed by using a coin. The positive (+) mark on the battery must be inserted first, and the second battery must be inserted with its positive (+) mark against the head of the battery which has already been inserted .

Set the main switch to the red dot. Press the small black button which w ill be found in the centre of the automat ic exposure system control knob . The pointer in the viewfinder must move as far as the red figure 8 on the aperture scale. Should it not reach th is mark replace both batteries.

If it indicates a higher value, then the batter ies (e. g. 1.5 volt) must have been used.

This will cause incorrect exposure.

If the batteries are inserted inco rrectly the automatic exposure system wi ll not operate . Follow the diagrams ins ide the battery compartment.

Metering battery check

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.mom . â&#x20AC;˘ (-:}

)1

manual ~

9

Cartridge loading

The following types of film can be used in the camera.

Artificial light colour film from 13 to 23 DIN (16 to 160 A .S.A.).

Daylight colour film from 11 to 21 DIN (10 to 100 A .S.A.).

Black and White film from 11 to 21 DI N (10 to 100 A .S.A.).

Daylight colour film must not be used under artificial light conditions unless a correction filter is used on the lens .

When using black and white film the filter selector must be set to the ÂŤsun Âť symbol.

Open the rear door of the camera and insert the cartridge with the film facing forward. The drive spigot on the cartridge must be towards the operating side of the camera. If the cartridge is inserted incorrectly, the door will not close.

However, do not use force , in case this has occurred.

The cartridge automatically sets the ex posure system to suit the type of film in use . The film counter is automatically in the start position , and will not begin to operate until the rear door is closed .

The film counter shows the amount of film which remains , both in meters and feet. The window on the non -operating side of the camera indicates the type of film with which the camera has been loaded.

When the film is being correctly trans ported through the camera, a red light flashes at the top of the viewfinder. When the end of the film has been reached this lamp is illuminated continuously. The film aperture in the camera should be cleaned from time to time by using a long handled soft haired brush .

10

Filter Selector

Exposure Control

Most Super 8 colour films are intended for use under artificial light conditions.

When films are used under daylight conditions, a built-in conversion filter is necessary to correct the colour temperature to suit the artificial light type film . This filter is in position when the filter selector is set on the «sun» symbol. When a film is shot under artificial light conditions, the filter selector must be set to the <damp» symbol.

The automatic exposure system of the camera sets the aperture after measuring the light through-the-Iens . The aperture numbers are indicated in the viewfinder.

However, unless the camera has been loaded with a cartridge the aperture numbers will not pe accurate.

In the case of black and white film , the filter selector must always be set to the «sun» symbol.

If the pointer in the viewfinder is in or beyond the red sections at either end of the aperture scale, satisfactory exposure cannot be achieved unless special settings or preparations are made (e . g. by using reduced or extended exposure times, by the use of artificial light, etc.).

The automatic exposure system can be overridden and each aperture on the scale set manually. To do this, turn the automatic exposure control knob to «Manual». The pointer in the viewfinder will now be controlled by this knob, and can be set to any position along the scale.

11

The use of this manual override can be best explained by the following example.

In beach or snow scenes the automatic exposure system will be adversely affected by the reflection from the sand or snow, and a person standing against this

Split-image Rangefinder

background would be underexposed . Ob viously the automatic reading would need to be corrected by manual override.

To obtain really sharp pictures it is essen tia l to adjust the viewfinder eyepiece to suit your eyesight.

In this case , with the camera on «automatic », point it towards the subject at a very close distance from the subject. If this is not possible , point it towards a nearer subject which is simi larly illum inated. Read the number in the viewfinder and t hen set it manually. Now take your shot with this manual setting.

Point the camera towards a plain evenly illuminated background such as a white wall , or a blue sky. The setting of the lens, both for focus and zoom is entirely unimportant at this point. If you wear spec tacles you can get closer to the eyepiece if the rubber eyecup is folded forward.

Another way would be to zoom in on the main subj ect with the exposure system on «autom» , note the number in the v iewfinder, set this same number manually, and t hen select the required focal length ·on the lens and car ryon shooting .

Now turn the eyepiece until the horizontal line which bisects the circular area is in sharp focus . The eyepiece is now sst.

12

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To focus the lens, first set the zoom to its longest focal length. Now sight the subject and turn the focusing ring of the lens until the vertical lines which pass through the circular rangefinder area, are in line, and not broken. The lens is now focused.

If one half of the rangefinder circle appears slightly unsharp, or a little darker, this has no bearing on your final film results.

Once the camera lens has been focused , it will remain in focus regardless of the

13

focal length used., so long as the subject distance does not change. However, this is only applicable when focusing has taken place with the zoom lens set to its longest focal length.

Critical focusing is only vital when the lighting conditions are bad or when long focal lengths are used (from about 30 mm and upwards) and when the distance between the camera and subject is less than 10 ft. If there is no time for critical focus ing you can take advantage of the very great depth of field at short or medium focal lengths. On the focusing ring

Power Zoom

of the lens the 12 ft. mark has been filled red. Similarly on the zoom scale the 15 mm position has been filled red. If this combination is used , then a depth of field of approximately 6 ft. to infinity will be obtained with an aperture of f /4. For even smaller apertures and shorter focal lengths, the depth of field will be much greater.

The control buttons for the power zoom are located on the top of the camera towards the lens. The black knob nearest to the lens sets the long focal lengths, and the green knob nearer to the viewfinder eyepiece sets the short or wide angle focal lengths.

There are two zoom speeds. If you press the control button lightly the power zoom will be slow, if you push it down firmly the zoom will be fast. The zoom effect can be slowed down further by use of one of the two slow motion filming speeds.

Of course any focal length can be set manually if you wish to frame t.he subject before commencing filming.

Special note for the S 800 camera The power zoom system can be switched out and the focal length easily adjusted with a lever. This gives the possibility of a very rapid changes in focal length during shooting.

Screw the lever onto the stud on the focal length scale. The power zoom system is declutched by turning the black ring from the red dot to the zero mark.

14

Holding the camera and operating the release The camera may be used with the left or the right hand. Pass the hand through the wrist strap and hold the camera firmly by its pistol grip. The forefinger will easily reach the trigger release .

Hold the viewfinder to your eye using the most suitable eyecup. The large oval eyecup can be set in any position on the viewfinder eyepiece, but those who wear spectacles may prefer to use the smaller eyecup, which allows the eye to be closer to the eyepiece. Both eyecups can be removed simply by pulling them off the eyepiece.

The free hand is used for operating the focusing ring or the power zoom. During shooting it should be used to gently press the camera into the holding hand .

15

If the film is being transported correctly; a red light signal in the viewfinder will flash intermittently. Near the end of the film the flashing will become more extended. If the light fails altogether, this shows that the film transport has stopped operating and if the indicating lamp is illum inated continuously then the film has been completely transported. The camera may be also operated by a cable release

or an electrical remote control. Details concerning these will be found in later sections of these instructions .

Electrical remote release

The camera may also be operated by an electrical remote release, th is consists of a reel of approximately 30 ft. of cable fitted with a press button and a socket for a further extension of approx 30 ft. of cable.

Several of these reels can be connected in series to form a total release length of a maximum of 330 ft.

The electrical remote release allows subjects such as wild life to be filmed with the camera hidden. It can also be used when the cameraman himself wants to appear in the scene.

Socket for electric remote release

The camera should be mounted rigidly, preferably on a tripod . The automatic exposure system knob should be set to ÂŤautomÂť and the subject focused. The electrical remote release cable should be inserted into the middle socket on the side of the camera above the grip. Be careful not to move the camera, or worse still, pull the tripod over when you are feeding out the remote control cable.

Socket for extension

16

Using a tripod

To obtain steadier pictures on the screen, it pays to use a tripod . This is particularly true for pan or zoom shots. A tripod becomes essential for single frame exposure using the automatic time lapse facility, or when filming at focal lengths above 30 mm.

can be inserted into the first socket nearest to the release trigger on the side of the camera.

The camera is fitted to the tripod with the pistol grip in position. The thread in the base of the grip is used , and t he adapter can be. removed to suit tripods with a larger diameter mounting screw.

When using the camera on a tripod, it is better to use a cable release , and this

Socket for cab le release

17

Automatic singl e frame filming

If there is sufficient interval between single shots it is possible to make inanimate objects come alive. At each shot the arm of a doll may be raised a little, or a matchbox may be moved a fraction at a time across a table. If these sequences are projected at 18 frames per second, the objects will have become animated. The doll will wave and the matchbox will travel across the table. For this type of fi lm-making the camera must be rigidly mounted, preferably on a tripod .

If, during the sequence of exposures, the camera is moved inadvertantly, even only sl ightl y, it is advisable either to start

6 frames/sec

all ever again or to alter the position of the camera or the focal length of the lens. S ingle frames can be exposed either by using the trigger release, a cable release , or the electrical remote release . T he red indicator mark on the automatic t ime lapse control knob must be set opposite the black square.

It is also possible to expose single frames automatically by using the time lapse control and therefore saving time by going to and from the c amera (for releasing) and the subject (for altering its position). The time lapse control knob

Continuous run

. run

Single-frame with cable or remote release

approx.1 frame/min 18

is set so that the inte rval between single frames allows sufficient time for manipulations of both the camera and the subject. The electrical main switch shoul d be set to red , and the time lapse contro l knob to the first indication at the extreme left of the circular line. The continuous run leve r on the camera base should be lifted and moved over to the right as far as possible. If this sequence of operations is followed , an unnecessary loss of f il m can be avoided. Losses in single frames during the setting of t he t ime lapse control knob are insign ificant. For this pu rpose, the knob itself is turned anti - clockw ise until t he required inte rval between single frames has been achieved. The interval can be recognized by the c licking of the so lenoid switch .

19

Automatic single frames for speeded-up motion Al l f ilmi ng speeds under 18 frames per second will produce a speeded-up effect when the f ilm is projected at 18 frames pe r second .

Using the automatic time lapse control system , the camera offers all speeded-up settings between 6 f.p.s. and 1 f. p. minute .

The speeded -up effect between 6 and 2 f.p .s. is relatively small, but it is adequate fo r illustrating , for examp le, the hectic tempo of street traffic. The camera does not necessari ly have to be mounted on a tr ipod . When carrying out all movements of the camera, do not forget that the speeded-up setting accelerates movements by at least three times.

Speed settings between approximate ly 2 f.p.s. and 1. f.p . minute definitely requi re a tripod or, at least, a stab le camera support. 2. f .p.s. produces nine times the speeded-up effect compared to the normal camera speed . If exposures are made at the rate of 1 f.p. minute the sequences taking place during one hour are reprod uced in 3.3 seconds projection time .

The automatic time lapse control system gives cont inuously variable speeded-up motion effects, with the possibility of the correct choice of speed for each type of subject. The intervals are shortened as the knob is turned anti-clockwise and the camera will operate as soon as the continuous run lever is lifted from its normal position and moved as far to the right as possible.

A complete sequence of single frame shots can be filmed automatically with respect to the film transport of individual frames , and automatically w ith respect to correct exposu re. The latter is achieved if the filming speed knob is set to <<18Âť.

Therefore, it is perfectly possible to operate the camera without any attention as long as the supply of film lasts. A table of projection times gives information concerning the length of scenes which can be obtained at various speeded-up settings.

20

Screening times for 18 fram es/sec with Retard ed acti on

Std .

Sl ow*m otio n shots

24

54

18

1 3

1,33

1

hrs

min

sec min sec Imi

2

sec Imi

4

sec Imi

6

2,66

2

2

12

5,33

4

4

0,44

24

0,66

8

8

0,89

. 0,44

45

20

15

15

1,66

0,83

0,42

30

40

8

80

30

15

sec Imin sec ';'in sec Imi

sec Imi

120

sec mir sec

1

30

3,33

1,66

0,83

0,42

1

20

1

1

6,66

3,33

1,66

0,83

0,42

2

40

2

2

13,33

6,66

3,33

1,66

0,83

0,44

4

6,6

13,3

6,66

3,33

1,66

0,89

0,44

8

3,3

6,6!

13 ,33

6,66

3,33

1,78

0,89

30

1 2 4 8

21

1

0,5

min sec min sec mir sec

3

Interval betw een sing le frames in sec

Shoo ting duration

Frames per sec

15

1

40

30

3

20

0,45

50

25

12,5

6,25

3,33

1,66

0,83

0,42

1

40

50

25

12,5

6,66

3,33

1,66

0,83

3

20

1

40

3

20

50

25

3,33

6,66

3,33

1,66

1

40

50

6,6

13,33

6,66

3,33

3

20

1

40

53,3

26,6E

3,33

6,66

3

20

47

53,33

P6,6E

13,33

153,3,

26,66

20

40

1

16

1

47

24

2

40

1

Automatic single frame filming in conjunction with e lectron ic flash To take just one example it is possible to reco rd the blosso ming of a tropical plant, such as the Victoria Regia, automatically during the course of one night and to demonstrate quite clearly all the movements of the plant which would be otherwise invisible to the human eye.

W ith th is and other similar sequences, the use of lighting which produces heat is out of the question. However, the solution lies in the use of an electronic flashgun.

This also avoids the effect of shifting shadows, and variation in colour t emperat ure , if the f ilm was exposed using sun

light. It is important to ascertain that the interval between each single f rame is longer than the recycling time of the electronic flashgun. Exp osure must be set manually and the reading given by a normal still camera exposure meter should be increased by one stop (e. g. from fl 8 to f/5.6).

The filter selector on the camera should be set to the ÂŤsun Âť symbol , as the light from an electronic flashgun has the same colour temperature as that of daylight.

The electronic flashgun can be fitted to the camera by means of a support bar.

Socket for electron ic-fl ashgun

22

Slow motion filming

The contact plug is inserted into the extreme left hand socket at the side of the camera.

All filming speeds greater than 18 f .p.s. produce a slow motion effect when the film is projected at 18 f.p.s . The camera can be set to 18, 24 and 54 f .p.s.

The standard setting of 18 f.p .s. will reproduce the sequences at normal speed .

Shots from moving vehicles and some zoom and pan shots can be improved by using the 24 f .p.s. speed . When these shots are projected at 18 f .p.s. all movements will appear to be slowe r than normal by 1/ 3. Any uneveness in handling the camera will t herefo re be improved.

23

Automatic lap dissolves

The speed of 54 f.p.s. is a true slow motion setting. In conjunction with the projection speed of 18 f.p.s. it will produce a triple slow motion effect. Movements which take place too fast at a normal filming speed, will be easily studied at th is slow rnotion setting.

There is also a faci lity for instant slow motion sequences when filming at 18 or 24 f.p.s. The small black button in the centre of the filming speed dial is pressed and the camera immediately increases in speed to 54 f.p.s. Therefore only the most important part of the film sequence can be filmed in slow motion .

A lap dissolve is not only an interesting cinematographic effect, but it also offers the neatest way in which a change of scene and time can be clearly shown in the film.

A lap dissolve is achieved by fading-out the first scene, rewinding the required amount of film , and fading-in the new scene on it. The lap dissolve feature of the camera ensures that fading-in and out are superimposed exactly and automatically produces a technically perfect, smooth, and uninterupted lap dissolve.

Only two operations are required for this.

To make a lap dissolve, press the rewind button ÂŤRÂť (on the top of the camera) for about 1 second before the end of the scene with the camera still running . After 1 second there is no need to press either the rewind button or the release trigger.

The rest takes place automatically and over a period of 3.5 seconds 63 frames are faded-out. This number of frames is then rewound and the camera stops. For fading-in the new scene, first press the release trigger and then the rewind button for at least 1 second and the camera automatically fades in the new scene.

24

...

The condition of the variable shutter, which causes the fading-in and fading-out can be checked in the small window which is located above the film counter. "R" against a black background signifies «rewound» and ready for fading-in again.

The camera will only start to run when the rewind button has been pressed. The «0» against a white background signifies variable shutter «open» (normal position).

A lap dissolve may therefore take place .

Special Note Avoid making lap dissolves on the last few feet of film since perfect rewind is not guaranteed over·that section.

To make lap dissolves with Super 8 cartridges ; it is necessary to rewind approx.

27 cm of film in the cartridge . If the film material has unfavourable friction properties this can cause a failure of the film transport.

In such a case; 1. Fold back the pistol grip to disconnect the batteries.

25

2. Undo the rear door and withdraw the cartridge a little to disengage the film from the camera transport mechanism .

3. Fold the pistol grip back into pos ition again , so that the lap dissolve sequence, already started > can be completed.

4. Now push the cartridge back into the camera and close the rear door.

5. Do not make any further lap dissolves with this particular cartridge.

6. Fo r lap dissolves use only film types which you have found by experience to be satisfactory for this purpose .

Variable shutter

Correct fade-ins and fade-outs can be made under all lighting conditions with the aid of the variable shutter. The open sector of the variable shutter, which rotates in front of the film gate, is slowly reduced until no light reaches the film (fade-out); or the open sector increases from zero to normal (fade-in). These effects can be achieved with the camera even during hand held sho¡ts.

Fading-out: Hold the camera by the pistol grip and while filming, use the free hand to pull back the lever of the variable shutter (at the camera base on the operat-

ing side of the camera) as far as it will go. The movement of the lever should be positive and slow. When the lever reaches the end of its travel , stop filming . After this allow the lever to return to its normal position .

Fading-in: Before operating the trigger release pull the variable shutter lever to its rear stop. Now press the trigger and allow¡the lever to move back to its normal position at about the same slow speed as used previously for fading -out. If a scene has been terminated by a fade -out, the next scene must commence with a fade-in.

I <rLouper cking bu tton for bright-sector

26

....

Reduced exposure times: The variable shutter lever can be locked in a half closed position , about half way along its travel.

This position is indicated by a ÂŤhalf moon Âť symbol. The lever should be lightly pulled down at this point and it will lock down .

The exposure time is now halved and , at the standard speed of 18 f.p.s ., the normal exposure time of 1/43rd of a second is reduced to approx. 1/86th of a second .

The automatic exposure system compensates for this by opening the lens aperture one stop. It continues to give automatic exposure readings .

This facility gives the following possibilities: 1. Even if the pointer in the viewfinder enters the red zone and indicates that there is too much light, filming can continue without the need to use a neutral density filter. The setting of the variable shutter in the half closed position increases the lens aperture by one stop .

27

2. The increase of the lens aperture by one stop, reduces the depth of field , and therefore gives the possibility of putting the background out of focus and keeping the subject in the foreground in focus .

3. The reduced exposure time gives better definition when filming fast moving subjects.

Time exposures

Time exposures are achieved in conjunc t ion with the automatic time lapse system.

Move the lever of the variable shutter as far as it wil l go . Press the push button mark ed w ith a white dot. This w ill allow the variable shutter lever to move further into the section bounded by a dotted line.

Release the push button and the variable shutter lever w ill stay locked back.

The film transport mechanisim wil l now stop w ith the variable shutte r in the open positi on . This, in conjunction with the au t omatic time lapse contro l, gives exposure t imes between 1/8th of a second and appro x. 1 minute .

Th is fac ility makes interior shots poss ib le in museums, churches , and other buildings where there is only very minimal lighting.

However, sufficient single frames should be exposed to ensure that the sequence is not too sho rt when projected at 18 f .p.s.

Reduced times of exposure with VS stop at lock-point Frame f req.

Va riable sector diaphragm Open

Half-closed

Single f rame

1/43

1/86

18/sec

1143

1/86

24/sec

1157

1/115

54/sec

1/129

No autom . exp o

I

It is essential that the camera is mounted on a tripod or another similar vibration free mounting . The intervals given by the automatic time lapse control are now adjusted to give longer or shorter exposures as required by the prevailing light con ditions. As a rule a rough estimate will suffice , since time exposures will on ly be employed under lighting cond it ions which will not give over exposures , and which any gain in lighting will give a satisfactory picture .

However, for accurate settings of the time exposure it is necessary to use an exposure meter, which gives both the "f" numbe r and time of exposure. All such exposures will normally be made w ith the camera lens at its maximum (f/1.8) .

Therefore the exposure time indicated at this aperture on the exposure met er must be doubled. For example, if the exposure meter indicates a one second exposure for the lighting conditions, an interval of 2 seconds must be set on the camera.

28

Synchronized sound recording The camera is equipped with a 1000 Hz pulse generator and a special switch which , when operated, will start, the tape recorder an instant earlier than the camera. This means that the tape will be travelling at the correct speed at commencement of filming.

A connecting socket which will accept a special pulse cable is located on the left hand side of the wrist strap on the camera base. The diagram overleaf, indicates the various connections of the socket.

29

Many different types of pulse cables are now available and can be supplied by photo dealers. Some cables allow a pulse to be recorded for each frame, while others are for a pulse every 4th frame .

These pulses will control the projector when the film is screened. The second track on the tape recorder can be used for the normal sound. The choice of cable is determined by the tape recorder used.

Uss

[mVl 300

200

100

o

100

200

300

400

500

600

Impedanz Z

en]

1 frame 1 pulse (1000 Hz)

4 frames 1 pulse (1000 Hz)

30

Ultra Close-up shots

Terminal Layout Terminal 1 is connected to the c amera casing potential (chassis) Terminals 1 and 2.1 frame - 1 pulse; 1000 Hz (Kasy) Terminals 1 and 3.4 frames - 1 pulse; 1000 Hz (ETS) Terminals 6 and 7. Tape start switch (break contact) Terminals 7 and 8. Tape start switch (make contact) Terminals 6, 7 and 8, are insulated in respect of the casing and are electrically neutral.

The range of accessories available for the camera includes three supplementary lenses for ultra close-up shots. When the zoom lens is set to the longest focal length , these close-up lenses make it possible to cover very small areas and reproduce subjects¡ more nearly life size.

This opens up the facinating world of macro photography.

There is no need to go into further details here as the area covered will depend on the setting of the focal length of the lens and other factors which can only be shown in tables. However, each close-up le ns is supplied with such a table giving exact information on field of view, focusing distance, depth of field etc.

The use of a close-up lens on the camera does not require corrections to the exposure, but exact focusing and the use of a tripod are essential.

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Carrying the camera

Supplementary Lenses Nizo NL 1 = 1.0 to (40 to 22 inches) = 0.53 to Nizo NL 2 (22 to 16 inches) = 0.33 to Nizo NL 3 (16 to 10 inches)

for S 560 0.47 meter 0.32 meter 0.24 meter

Supplementary lenses for S 800 Nizo NL 8001 = 1.50 to 0.'72 meter (60 to 29 inches) Nizo NL 8002 = 0.80 to 0.51 meter (32 to 20 inches) Nizo NL 8003 = 0.50 to 0.37 meter (20 to 15 inches)

There is a special holster case for the camera with' provides adequate protection and yet leaves it ready to be operated at a moment's notice. The camera can be stored in the case with the pistol grip folded back with the lens pointing down .

It is also possible to leave the pistol grip in the normal filming position . In this case the zip fastener is only closed to the point at which the handle protrudes from the case.

The upper compartment of the case will accommodate two film cartridges. If the packing material normally supplied with the film cartridge is removed space will be saved. The lower compartment is in tended for the remote release cable, filters and other small accessories. The red loop fitted along the seam of the zip fastener can accommodate a cable release or the long zoom lever (S 800 only).

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7131 821 - engl.

Printed in West Germany 18173