The reference numbers of the controls are repeated below with a brief definition of each control, followed by advice on how to start filming without delay. If you adjust all controls to the red dots, you need not bother about technicalities.
Get to Know Your Nizo
1. Cassette CompartmentInsert the cassette so that the label remains visible, otherwise you cannot close the compartment door.
2. Label WindowThis tells you at any time what type of film is loaded.
3. Footage IndicatorIt will be reset to the start position when you remove the cassette
4. Aperture ControlCan be adjusted to ‘auto’ or ‘manual’ control.
To check the battery power, hold this control in the spring-loaded control position and look through the viewfinder. The aperture stop indicator to the left of the image should point to any value between 2.8 and 22. If the value is less than 2.8, change the battery immediately.
5. Film Speed SwitchThe normal speed is 18 frames per second (18 f.p.s.). The speed of 24 f.p.s. provides a slight slow motion effect. Position 1 is for single frame exposures with wire or the optional Nizo remote-control release.
6. Flash Synchronizing TerminalWill synchronize the flashlight for single frame or trick shots. Details under
Filming with your Nizo.
7. Filter SwitchCommercial Super-8 film is designed for artificial light. Your camera has a built-in filter for adjustment to daylight.
Adjust to the sun symbol, also for black and white film. If you are going to use artifical light, the lamp symbol should be visible.
8. Master SwitchAdjust to red dot for filming. When you have finished, adjust this switch to 0 to save battery power.
9. Eyepiece AdjustmentAdapt the camera lens to your vision.
Rotate until you see a sharp picture.
10. Range Indicating RingFirst adjust the zoom control 11 to the longest focal length. Then look through the viewfinder and adjust the ring 10 until the double contours of the scene coincide (rangefinder effect). If you have no time for rangefinding, exploit the large depth of field of your Nizo 116 for film shots calling for quick reaction. Adjust the range indicating ring to the red 4 m. and the zoom control to the red 15 mm.
11. Zoom ControlPower operated during filming, manually adjustable before filming. For any focal length exceeding 25 mm. steady your hand by a support or lean against a wall or tree. Only a tripod provides a stable picture.
12. Release triggerReadily accessible to your left or right hand index finger. Do not operate jerkily.
13. Jack for Remote Control CableInsert the cable of the optional remote control release here and operate the camera mechanism with the built-in magnet.
14. Jack for Wire ReleaseThis is for a release by wire from the panning lever of a tripod or for trick shots by single frame exposures.
15. Handle LatchPush this knob to swing out the handle. Two threaded holes will become accessible in the camera base for the tripod.
Filming with Your Nizo
The camera mechanism is driven by four 1.5 volt cells accomodated in the handle of your Nizo. This battery also powers the CdS exposure control of your camera.
Open the cap in the handle bottom using a coin. The battery compartment shows how to position new cells. Recommendation: use only alkaline-manganese batteries.
To test the battery voltage, adjust the film speed to 18. Then rotate the aperture control into the spring-loaded ‘control’ position and hold it there. Look through the viewfinder. If an aperture stop between 2.8 and 22 is indicated, the battery voltage is satisfactory. If the aperture diameter is larger (value less than 2.8), replace the battery at once; at least remove the exhausted cells from the handle.
You save battery power when you develop the custom of adjusting the master switch to 0 before any idle period.
Press the button on the rear narrow side of the camera and open the cassette compartment door.
Insert the film cassette with the round recess down and the label up; otherwise the door cannot be closed. Do not apply force. The door has a window so you can check at any time if and what film material is loaded.
The footage indicator will jump back to the start position as soon as you take the cassette out of the compartment; remember this when you remove a film not fully exposed to change from colour to black and white and vice versa. The film of a cassette is completely exposed when the footage indicator is 0 and the word ‘exposed’ appears in the cassette film opening.
When you adjust the filter switch 7 to the sun symbol you will insert a filter adapting the artificial light Super-8 film to daylight. For exposures under artificial light, adjust the switch so that the lamp symbol is visible, thus taking the red filter out of the path of light rays.
Automatic Exposure Control
The automatic exposure control feature of your Nizo will accept Super-8 film cassettes with the following film sensitivities:-
40 and 160 ASA (17 and 23 DIN) for color artificial light film
25 and 100 ASA (15 and 21 DIN) for switched-in filter
40 and 160 ASA (17 and 23 DIN) for black and white film
The automatic exposure feature will not process intermediate values. When you insert the cassette, the exposure control adapts itself to the film type used.
After light metering through the lens, the exposure control will open the diaphragm to the correct aperture stop number in an automatic operation. You can check the stop number by looking through the viewfinder. If the index points to a red field, the illumnation is either too bright or too dim. If it is too bright, which is a rare case, you can film after you have screwed to the lens a commercially available grey filter. If it is too dim, use a powerful lamp.
Manual Aperture Control
You can switch off the automatic exposure control and adjust manually any aperture stop desired. To do so, rotate the aperture control 4 out of the ‘automatic’ position. The stop indicator in the viewfinder will now follow the rotary motion of the control knob.
In this way you can correct the stop determined by the automatic feature, for instance, when the important part of a scene is much brighter or darker than the surroundings. In such a case, either use the automatic feature at a closer range to the important part or else take the reading from a better accessible subject with comparable illumination. Adjust the aperture stop detemined in the manual mode.
Example: You want to film the ‘man at the helm’ surrounded by sun-reflecting water and the automatic exposure control indicates the stop 11. Under these conditions, the surrounding waters will be correctly filmed while the man will appear too dark during the projection of the film. Hence the exposure has to be corrected.
The manual aperture control also allows of fade-out and fade-in under certain conditions. If you slowly reduce the light reaching the film you get a fade-out, otherwise a fade-in.
Start by reading the valid aperture stop number and adjust this stop with the aperture switch 4. (Before you start filming: take the reading and note it. Then rotate until the stop number noted is indicated in the viewfinder.) During the filming, slowly rotate the aperture control towards the stop number 22 for smallest aperture.
You will thus achieve an effective fade-out under normal light conditions with stops between 5.6 and 8; smaller apertures with stops of 11 or 16 preclude any fade-out because the path is too short. Larger apertures permit even better effects of fade-out.
A similar operation permits fade-ins. Read and note the proper stop number. Then start filming at stop 22 and slowly open the aperture to the noted value. After any manual correction of the aperture, reset the aperture control 4 to ‘automatic’.
The zoom lens offers you two advantages. Literally by a turn of your hand, you can change the focal length and thus the angle of view before you start filming. When you purposefully exploit this feature, your movies will give the impression of having been filmed with several cameras although you have hardly changed the position. For this mode – and also to save battery power – adjust the focal length by the zoom ring before filming.
You can also change the focal length during the filming and thus achieve movies seemingly obtained by the camera moving towards or away from the scene – although you never changed your position.
However, during exposure you should control the focal length only by the rocker switch on the camera body. Press only one end of this switch, never its centre.
A prerequisite for distance measuring through the lens is the adaptation of the lens to your vision. Adjust to the shortest focal length. Adjust the range-indicating ring 10 to the infinity symbol. Look through the eyepiece and rotate the knurled roller next to it until the image of an object over 10 m. away is sharp.
Before you start with the actual range finding, adjust to the longest focal length. Then rotate the ring 10 until the double contours in the rangefinder observed through the viewfinder, merge into single contours.
Now select the focal length suitable for the take and start filming. Exact distance measurement becomes the more important the longer the focal length selected, the dimmer the light (and the larger the aperture), and the shorter the distance to the object. If you wish to check the distance to the object by a measuring tape, place the tape end on the film plane symbol between aperture control and timelapse switch. Hold the tape to the lens edge only when you use a front lens attachment.
If you have no time to adjust the lens for a sharp picture, simply exploit the large depth of field available for short and medium focal lengths. For this mode, the 4 m. of the range indicating ring and the 15 mm. of the focal-length scale are marked red. Using this red-dot combination and the stop number 4, you get a depth of field from 180 cm. to infinity even at a relatively dim illumination. The shorter the focal length, the larger will be the depth of field.
The Film Speed Switch
You can adjust this multi-position switch 5 to the standard filming speed of 18 (red-dot position for 18 frames per second or 18 f.p.s.) or to 24 for a slight slow-motion effect recommended for panning. When the film is projected with the standard 18 f.p.s., all motions and also those of the cmaera will appear slower and softer. Hence, the film speed 24 is recommended for certain exposures out of a moving car on a poor road. The automatic exposure control will adapt itself to the changed shutter speed.
Adjust to position 1 for manual single-frame shots.
Manual Single Frame Shots
A sequence of single frames exposed with a wire release or the optional remote control release allows film-making with
1. extreme time lapse
2. animation of still objects.
Example for time lapse: the slow passage of clouds can be made visible by exposures with intervals of several seconds.
Example for animation: dolls will wave their arms if you move them for increments during exposure intervals.
For this mode it is best to place the camera on a tripod and to insert the longest possible release wire into the camera jack. The optional Nizo remote-control release may also be used for single frame exposures. Push the remote-control cable plug into the jack beside that for the release wire. Adjust the film-speed switch to 1. If none of these release aids is handy you can use the trigger, but at the risk of a shaky film. A tripod is the best guarantee for successful trick and effect exposures.
Time Lapse Exposures with Flashlight
The electronic flash is similar to daylight, radiates no heat and has a constant colour temperature. It thus makes possible time-lapse films of heat-sensitive objects e.g. growing plants.
Adjust the film-speed switch to 1. Join the camera with the flash unit on a bracket and mount the assembly on a tripod. The camera can be fastened to the bracket with the threaded hole behind the camera handle which is also useful for coupling a powerful lamp to the camera. Push the contact-pin of the flash-synchronizing cord into the jack on your Nizo. Manually operate the aperture control to adjust for the required stop number, but select the next larger aperture as compared with that of a photographic camera in a similar situation i.e. for instance 5.6 in place of 8.
If you want to mount your Nizo on a tripod, swing out the camera handle and leave it in suspended position. The tripod screw will fit into one of the threaded holes on the camera base.
Filmng with a tripod is always worth while because of the improved picture stability when the developed film is projected. This is particularly true of exposures with a moving camera, zooming, single exposure trick effects, at time-lapse film speeds, and with the long or longest focal lengths (tele).
Electromagnetic Remote Control Release
The camera mechanism can be actuated by a built-in magnet if you use the Nizo remote-control release cable. This is one of the options comprising a reel with 30 ft. (10 m.) of litz cable 2 mm. thick, push-button release and a jack for connection of another cable of this type. Up to ten cables may be connected in series.
Remote control permits filming with a concealed camera or of scenes in which you yourself play a part without having to worry about recruiting an ‘assistant camera-man’. Firmly mount the camera in front of the scene, best on a tripod. Adjust the aperture control to ‘automatic’. Push the remote-control plug into the left-hand jack on the camera. When laying the remote control cable, make sure it cannot overthrow or pull down the camera by somebody stumbling over the cable.
Extremely Close Shots with Front Lens Attachment
The options for the Nizo camera include three front-lens attachments for extremely close shots. These attachments, combined with the long focal length of the camera, emable you to film scenes only centimetres in size. It would be outside the scope of these instructions to list all tabulated data on image ratios, fields of view, and diopters that depend on the focal lengths selected. Therefore tabulated object sizes, shooting distances, and depths of field are supplied with each Nizo front-lens attachment.
An attachment does not require any aperture correction, but very accurate ranging or distance measuring. A tripod is extremely useful.
Front-lens attachments for the Nizo 116 camera are available for the following distance ranges:
|Supplementary Lens||Focusing Range||Minimum Subject Area||Scale of Reproduction|
|Nizo NL 1||1.00 – 0.47 m.||50 x 38 mm.||1:9.5|
|Nizo NL 2||0.50 – 0.32 m.||35 x 26 mm.||1:6.5|
|Nizo NL 3||0.33 – 0.24 m.||25 x 19 mm.||1:4.7|
Lens thread: M 49.