The venerable Bolex Rex-5 (short for Reflex Viewfinder-Series #5) 16mm motion picture camera was and still is a Swiss-made mechanical timekeeping marvel, engineered to intermittently pull 16mm double-perforated motion picture film through a precision spring-wound movement at highly-accurate frame rates ranging from 12-64 frames per second. The camera combines a versatile 3-lens turret with an improved 13x reflex viewfinder (found on later production models such as this one shown), making the Rex-5 compact hand-holdable design a go-anywhere, battery-free, professional filmmaking machine.
From newsreel and travelogue films, to capturing mountain peaks and summit attempts, to spelunking and undersea exploration, the little Bolex-that-could was there!
While not a silent-reflex camera (meaning it was too noisy to record synchronous dialogue in confined spaces), it did receive many updates and accessories over the years to make it more versatile. Synchronous electric motors, barneys/blimps to silence camera noise, 400’ magazines for longer running times and even anamorphic lenses all became standard accessories. Eventually, there was even a Super-16mm modification available.
This particular camera was a great learning tool for fledgling film students like myself when, before the great migration to video occurred (circa 1980), with its instant gratification and lower cost, there was only the art and science of motion picture photography to learn as craft.
As was the [similar] case with film still photography, a discipline and methodology existed to anticipate proper exposure, colorimetry and photographic effects without immediate confirmation. Hence, the sole responsibility for image-integrity rested with the photographer/cinematographer, and could only be absolutely confirmed when the film was received and processed by the lab.
Absent were video monitors of any kind.
Imagine being out in the desert for weeks filming an epic like LAWRENCE OF ARABIA, complete with leading actors, thousands of extras, hundreds of crew, millions of dollars and reputations at stake, with the responsibility of successfully exposing and capturing the image resting solely on your shoulders!
This is the reason that the craft of filmmaking, particularly feature films, had so many craftsmen working in concert with each other —camera operators, loaders, focus-pullers, grips, gaffers, set designers, make-up, riggers, special effects… so many eyeballs watching the action to confirm that they got ‘the shot.’
And it all began with mechanical marvels such as the Bolex. It’s the stuff dreams are made of! 🎬
~ Brent
Ed. note - In dedication to and loving memory of the late Jesse & Theda Chambless (Chambless Productions) whose dedication to the Bolex and to the craft of filmmaking served to keep my dreams alive.
