Braun Super 8, Nizo561, Nizo801, Nizo481 Instructions For Use Manual

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Braun

SuperB

Instructions

for

Use

Nizo801
Nizo561
Nizo481

BRRun

Contents Filming with the Nizo 801,

561 and

481

Getting

to

know your Nizo camera

Focal length adjustment

13

We congratulate you on

your

choice of the

(brief instructions)

4

Description

of

Vario zoom lens 13

Nizo camera, a

product

of the

pioneer

Varying the focal length

13

German film camera company . From

now

Drive system

7

Manual focal length

control

on,

your

films

will

be taken with a Super-8

Drive batteries and battery safety box

7 (on Nizo

801) 14

camera built to the highest international

Electric master switch

7

standards.

The Nizo

801,

561

and

481

Checking battery voltage

7

Running speeds (image frequency)

14

models

differ

mainly in the use of zoom

Operating the camera from

an

Slow motion (filming speed switch

1)

14

lenses of differing focal lengths. This

outside

power

source

or

from

an

Speeded-up action (filming speed

manual therefore provides the basic

oper-

storage battery using the Nizo Power Set

8

switch

2)

15

atin g instructions for all three Nizo camera

Holding the camera and operating

Animation techniques 16 models.

the shutter

8

Flash

illumination

for

elapsed

Filming with a tripod, using a cable

time filrhing

16

If you fold back the

double

pages on the

release

8

left and on the right at the end of this

Electric remote

shutter

release

9

The variable shutter

17

manual , you will see the

controls

illustra-

General

description

of variable shutter 17

ted and numbered . The same

numbers

are

The film cassette

10

Fade-ins and fade -outs

17

used below to explain the various

oper-

Film types which may be used

10

Automatic

dissolves

18

ating

functions

briefly, so that you can

Inserting the cassette, checking

The Nizo automatic exposure

rapidly become familiar with

your

camera.

camera

I·oading

10

reduction system

19

We

have confined ourselves to essential

The built-in

filter

10

Extended exposure times

19

instructions

. If you initially set all

controls

Automatic

extended exposure system

20

to the red dots provided, and

do

not con-

Exposure control

11

cern yourself with animated

filming

or

Meter battery

11

Synchronized filming and sound

other

special features of

your

Nizo camera,

Checking voltage of

meter

battery

11

recording

21

you

will

be able to shoot

your

first film

Automatic exposure

control

11

without

giving too much

thought

to the

Manual operation of lens iris

12

Ultra close-up filming

22

«mechanics» of camera operation, and can
devote

your

entire attention to

composing

Range finding and focusing

12

Filters

23

the scenes of your film and

practising

ca-

Adjusting the eyepiece

(diopter

The carrying case

23

mera movements.

compensation)

12

The split-image range

finder

12

Minor defects and remedies

24
Making best use of availabl e depth
of focus

13

4

5

..

3

~:

'

'u

0

v,

J :' g,

• 0 •

Getting to know your Nizo camera

1. Cassette compartment

A flap secured by a catch

will

be found on
the rear end of the camera. Press the catch
down, open the

flap and slide the cassette

into the compartment.

The first time: do

not

use

force

if

the flap

will

not

shut. Remove the cassette

and

turn

it

round. The

maker

's

label

should

be

visible through the

inspection

window

.

2. Inspection window

This enables you to check at any

time

if

your

camera

is

loaded and if so, with what

type of

film.

3. Film counter

The

counter

returns

automatically

to 0

when you op en the cassette

compartment

flap.

4. Filter switch

Super-8 film stock is designed to match the
co lor temperature

of

artificial

light. Your

camera has a built-in

filter

to adapt it

for

day

light

filming.

When filming in da

ylight

, turn the

filter

selector

to the sun symbol, even

if

using

bl

ack a

nd

white film.

If

you are

filming

in

a

rtifici

al light, turn the

red

triangl

e on the

switch to face the la

mp

symbol.

Warning: when the

artificial

light

filter

is

out

of action, a second signal

will

apear

next to th e

film feed scale above the view-

find

er image.

The

center

of

the

filter

switch contains a

spring,loaded button marked «+ 1

».

If you
keep this button pressed in, the automatic
exposure

control

will

open up the aperture

by one

additional

stop number.

5.

Lens iris control

Exposure

control

is achieved by varying the

iris aperture,

either

automatically

or

by

hand (the iris setting

is

shown on a scale
under the imag e in the viewfinder). In the
center: the

meter

battery voltage testing

button

(2

x 1.35 volt cells in the camera

base).

Set the master

electric

switch 7 to
the red dot. Press the test button. The
aperture

indicator

needle should move

across to the figure 8 on the aperture

scale

under

the

viewfinder

. The 8 is colored red

for

easy identification.

The first

time:

leave the aperture

control

set to the

red

dot

(= a

utomatic

exposure

control)

.

6.

Hand grip lock

The hand

grip

can be swung back out

of

the way.

The

grip

contains

a safety box

for

the 6 x 1.5

volt

AA

penlight

cells which

drive

.

the camera

motor

.

The first

time:

If

the camera does

not

start,

the batteries may ha

ve

been inserted

wrongly into the box. Please

insert

the

batte

ri

es as shown

by

the symbols on the

box.

7. Electric master switch

0 = all

power

circuits

switched off.

This

setting preserves the batteries. Red

dot

=

all

pow

er

circuits

switched on . Black

dot

=

setting

for

checking voltage

of

drive

batter

-

ies. The switch is spring

loaded in this

position . When press

eo

in firmly,

the

aper-

ture

indicator

ne~dl

e

on the scale

under

the

viewfinder

should move

as

far

as

possi-

ble

to the left of the test

mark

8.

If the

poin-

ter

remains to the right of the 8, new bat-

teries are required.

The

first

time : If the camera does

not

start,

make

sure that the master switch is set to

the

red

dot

position

.

8. Outside power source connection

An storage battery

is

available

as

an

acces

-

sory (in

the

Nizo Power Set), and enables

the camera to be driven with a

greater

re-

serve of energy

or

alternatively

direct

from

the mains

power

supply.

9. Shutter release

Can be

comfortably

operated with the in-

dex

finger

of the left

or

right hand. The

drive

mechanism is started

electromagneti-

cally.

The first

time : Do

not

jerk

the

shutter

re-

lease when operating. Do

not

film in

short

bur

sts

(a

good

rule of thumb is to

allow

each

shot

to run

for

5-6 seconds).

4

..

5

10. Connection for cable release

This

connection

is

used

if

you wish to

start

the camera

motor

with a cable release,

for

instance if one is built into the

control

arm

of

your

tripod. It can also be used

for

ani-

mation in

conjunction

with the manual

single frame setting of the ca'mera.

11. Connection for electric remote release

The

Nizo remote release (available as an
accessory) can be connected here, and the
camera

motor

started by a built-in solenoid.

12. Continuous

run

switch

This

switch is needed to operate the auto -

matic

single frame filming device. Disen­gage the switch from its catch, and swing
over ful'ly to the right. The camera

will run

until the switch is moved back.

The

first

time:

Do

not

forget to set

filming

speed

switch 2 to the automatic

single

frame (time lapse) position before

operat

-

ing

the continuous run switch,

or

else
valuable film stock may be run through the
camera accidentally.

•

13. Adjustable viewfinder eyepiece

This

adapts the optical system of

your

camera to suit

your

own eyesight, as on

binoculars.

Turn the

control

until

the line in the

center

of

the

split

image rangefinder in the view-

finder

appears sharp. This

initial

setting

is

important

for

correct

through-the-Iens

range finding.

14. Lens focusing ring

To measure distance and focus the camera,
turn this ring until the vertical outlines of
the

object

being filmed pass smoothly

(without a step) from one

half

of the

split

, image range

finder

in the

viewfinder

to the
other, Always set the zoom lens to the
maximum possible focal length

48,

56

or

80

mm, depending on camera type) before

using the rangefinder.

If you set the lens focusing

and

focal

length

rings to the

red

figures

(colored

for

ease

of

identification), you

will

be able to dis-

regard the focusing

problem

for

most

nor

-

mal shots. Ample depth

of

focus

will

be

provided

for

action

shots which

would

otherwise

call

for a

rapid

reaction on your

part

while filming.

15. Automatic power zoom

The

lens can be zoomed with the built-in

motor

by

pressing a button

while

filming,

or

alternatively set to the desi red focal
length by hand before filming starts. A
word of warning : if you are filming at more
than about

25

mm focal length (tele lens),

you should rest

or

lean

your

hand against

a solid

object

or

surface,

or

stand the ca-
mera on its handgrip. For absolutely steady
tele shots, a

tripod

is the best solution.

The first time:

Zoom

shots

should

be in-

corporated

only

sparingly

into

your

film,

and

are best

avoided

until

you have time to

experiment.

16. The Nizo

801

model only

is

provided

with

manual override for the power zoom

mechanism

On

the Nizo

801

you can

disconnect

the

power

zoom mechanism by turning the

black ring on the lens from the red

dot

back

to

O.

The

long zoom lens lever supplied
with the camera can then be screwed onto
the focal length

control

ring, and the focal
length varied as desired by hand while
actually filming .

17. Filming speed switch 1
(for

slow-motion effects)

This switch enables you to vary the stand­ard filming speed of

18

frames per second,
and to film instead at a semi-slow motion
speed

of

24

frames per second,

or

at

1/3

of

the normal speed, using

54

frames per

second. By pressing the

54

button transi-

tion from

18

or

24

frames per 'second to 54

frames per second and back,

for

special

slow motion effects.

The

first

time:

The 54 frames

per

second

running

speed

reduces exposure time. The

iris therefore opens

and

the depth of focus

is reduced. For this reason you must

try

to focus as

accurately

as possible.

18. Filming speed switch 2 (speeded-up action)

This switch operates the automatic single
frame mechanism, which provides a

conti-

nuously variable time-lapse filming

facility
between 6 frames per second and approx.
1 frame per minute.

Set the red triangle on the switch to the
first black square on the semi -circular
sca le.

Operate the

continuous

running

switch

12,

followed by the master switch 7.

Adjust

the setting until the desired filming
rate is obtained.
The black square between the end of the
scale and the red

dot

is the setting

for
manual sing le frame filming, with the shut­ter

operated by a cable release

or

the elec-

tric

remote release unit.

In

the «autom. '8» position, the filming

speed (image frequency) is

contro

lled

automatically in

accordance

with the

amount

of

light

availab le (automatic ex -

tended exposure system).

The first time: For

normal

filming, leave

the sw

it

ch

set to the

red

dot

.

19. Variable shutler

If you pull back this

spring

loaded-lever as

far

as

the stop while filming, you

will

gradually

fade

out

the picture. If, on the

other

hand, you start to film with the lever

moved fully to the rear, and a

llow

it to slide

forwards slowly

while

the camera is run-

ning, the scene you are

filming

will be

faded in gradually.

The first time: Do

not

move the fade lever

too rapidly.

Reduced exposure (partially closed shut ­ter): move the lever to the

'/2 position, then

pull down. The lever wi ll engage in this
position.

Increased exposure position: move the
lever fully back and press the lock button.
Move the lever across into the shaded zone
and release the lock button . Note that the
film

im

age will not be exposed until the

automatic

single

frame mechanism advan­ces the film to the next frame. This in­creased exposure device operates on ly in
conjunction

with the time lapse filming
speeds made possible by the automatic
single frame mechanism (filming speed
switch 2).

The first

time:

After

filming

with the in-

creased

or

reduced

exposure time mecha-

nisms, do

not

forget

to release the variab-

le shutter lever

and

move

it

back to the

normal

setting

.

20.

Automatic dissolves

As you near the end of a shot, press the R
button on the camera . The automat ic dis­so

lve mechanism

will

fade out the scene
you are filming, wind the film back by the
amount used

for

the fade and halt the drive
motor.
When you are ready to start the shot form­ing the second half of the scene containing
the dissolve, press the R button on the
camera

and

the

shutter

release. The cam­era will start to run and the shutter will
automatically open.

You can check the various phases of the
dissolve in the

window

: 0 = ready for

phase 1 of the dissolve (fade-

out

and re-

wind);

R = ready

for

phase 2 of the dis-

solve (fade-in).

The

first

time:

Do

not

forget that a dissolve

is

intended

to provide a smooth transition

between two scenes of your film,

and

time

the shots

accordingly

. .

21. Connection fof electronic flash

You can

connect

a flash gun of adequate

performance

to this socket, and use it to

illuminate

ultra slow

time lapse shots .

22.

On

Nizo

801

and

561

only: pilot tone

cable connector

The

Nizo

801

and

561

models

incorporate

an

oscillator, which can be used to

trans-

mit

a 1000 Hz

contro

l impulse for each

single

or

every fourth frame of film,

depend-

ing on the sound system and tape

recorder

cab le in use.

6

7

Drive system

Drive batteries and battery safety box

The

camera

motor

and the

power

zoom

mechanism are

electric

ally powered by six

1.5

volt AA penlight cell batteries. This type

of battery is

obtainable everywhere

for

use

in

transistor

radios.

We

recommend the

use

of

manganese-alkaline cells (for ex-

ample, Mallory MN 1500, Everready E

94,

Ucar

E 94). The batteries are housed in a

safety box in the camera handgrip.

To obtain access to the patteries, press the
button beneath the shutter

release and

swing down the

hal'ldgrip. Pull back the

knurled catch on the

upper

section of the

handgrip. The battery box

will

be partly

ejected. Loosen the

knurled

screws

on the

under

side of the box until the

cover

can

be removed.

Insert the six 1.5 volt cells as

indicated by the

symbols. Repl'ace the

cover and tighten the

knurled screws. The

studs on the box

lid are of

differing

lengths

so

that

the cover can only be replaced in

one position.

Insert
the battery box into
the handgrip and
press down

gently

until
the knurled catch snaps
into position over
the projection on the
box.

If the batteries

have been inserted

incorrectly, the cainera

will not be damaged

but the drive

motor

will not run.

The safety battery

box protects the con­tacts in the camera against damage caused
by

electrolyte leaking from

old

batteries.

It

is a good idea to obtain a sp'are battery

box

(available as an accessory), especially

when filming in extremely cold

conditions

.
If the batteries in the camera are exhausted
or

too cold to drive the

motor

at full power,

the

complete battery box can be replaced
by the spare unit, which should be kept in
your pocket so

that

the batteries remain

warm.

Master electric switch

When the master switch is set to

0,

the

circuits

powered by the

drive

and meter

batteries are

disconnected

. When set to
the running position (red dot), the batteries
supply a very small

continuous

current

and

will

therefore

slowly

become

exhausted

Voltage
check

•

O

ff

Operatin

g

pos

iti

on

o •

I

J~~fl

even

if

the camera

motor

is

not run.

For

this reason, the master switch should al-

ways be turned to ° whenever the camera

is

not

operated a

prolonged

period . This

will also prevent

the

camera from running

if the shutter

re·lease

is

accidentally

oper-

ated. Note, too,

that

if

the handgrip is

swung back

but

the master switch

not

set

to

0,

the meter battery will continue to

operate at

full

power

.

The

black

dot

indicates

the switch setting

for

checking the

condition

of the drive

batteries.

Checking voltage

of

drive batteries

When moved to the black

dot

setting, the

master

electric

switch is spring loaded so

that it

cannot

accidentally

be left in this

position . To check battery

voltage, push

the master

electric

switch along

as

far as

the

black

dot

and

hold

it

temporarily in this

position. Examine the aperture

scale at the

bottom of the image in the viewfinder; the

pOinter should have moved

as

far

as

pos-

sible to the left

(16,

22)

and away from the

red-colored

8,

which acts as a test mark.

If

the pointer remains opposite the 8

or
even to the right of it, all six battery cells
should be removed from the battery box

as

soon

as

possible.

Connection to

an

outside power source

or storage battery using the Nizo Power

Set

If a great

deal of material is to be filmed,

the camera

used on a long

journey

or

the
automatic single frame mechanism oper­ated

for

many days on end to produce

lengthly time-lapse shots, we recommend

the provision of

an

outside

power

supply

using the Nizo

Power Set (available as

an
accessory). The Nizo Power Set can be
obtained with

either

the

Barix

storage

battery

or a dry

type (NC) storage battery.

The carrying case

contains

the recharge -

able storage battery with charging and

mains lead and maintenance equipment,

a special lead to

join

the camera to the
storage battery and a special locking plate
to attach the

tripod

direct

to the camera
base. The storage battery is capable of
running up to

30 Super-8 cassettes through

the camera before recharging is necessary.
By means of the charging/mains lead, the
storage battery can be used in a

«buffer.,

circuit

to

power

the camera from the mains

supply, if a

prolonged

time-lapse filming
session is being carried out. The storage
battery lead

connection

is on the camera

base, next to

·the

variable

shutter lever.

Further

details

are given in the operating

instructions

for

the Power

Set

Holding the camera, operating the

shutter release

All Nizo cameras can be operated with
either the right

or

the left hand. Past the

hand through the carrying

loop

before
taking hold of the grip. The shutter release
can easily be reached and operated with
the index finger.
The large eyepiece

rubber

cup supplied with
the camera will normally position the eye
at the

correct

distance

from the eyepiece

lens.

It also helps to prevent extraneous

light from affecting the

quality

of the view-

finder image. However, no

light

can in any

circumstances reach the film after pene-

trating the viewfinder.

If

you normally wear

glasses, you may

prefer

to use the padded

eyepiece rubber cup, which provides a flatter

support when using the viewfinder. Either

the cushion rubber cup

or

the standard eye­piece rubber cup can be removed and in­stalled

without

difficulty

if pushed over the

projecting

rim on the eyepiece.

The

hand

not

holding the camera is used

to operate

the

focusing ring

or

the

power
zoom. When actual1y filming, the free hand
can also be used to press the camera

gent-

ly

but

firmly

down into the

other

hand.

Warning: While filming, do

not

accidentally
press the voltage check button in the lens
iris

control

switch,

or

else

incorrect

expo-

sures may result.

Using a tripod and cable release

Filming with the camera mounted on the
tripod

always g·ives good results,

since

the

picture

on the

projection

screen is

after

-

wards much steadier.

In

addition, a

tripod

greatly

simplifies

camera pans, zooming in
and out, manually controlled stop-motion
shots using the single frame mechanism
and general filming at focal lengths above

40 mm.

A threaded

hole

is provided in the base

of

the

handgrip

for

the tripod screw. In

other

words, the camera

is

attached to the

tripod

head with the

handgrip

swung down into

the normal filming

pOSition. If the camera

drive

is to be operated by a cable release
attached to the tripod arm, the release
should be screwed into the first socket

8

9

from the right on the camera base. If you
wish to film

single frames

without

using

the automatic

single frame mechanism,
you can shoot each frame by operating the
cable release once.

In

this case, the red

triangle

mark

on filming speed switch 2

must be turned to coincide with the

first

black square next to the red dot.

•

•

timer

If the camera base

is

to rest

directly

on the

tripod

head, the handgrip containing the

batteries must be swung away.

In

this case,

the outside

power

supply

will

be needed

(see section

«Nizo Power Set»).

Electric remote release

Instead of a wire cable release, the camera
drive mechanism can

also be operated by

means of a Nizo remote

release cable

(available

as

an

accessory) . This actuates

Co

nnection

for

pytp

n."nn

le

ad

!;;::::::~

RE~le,"s

e

button

an

electromagnet

installed inside the ca-

mera body, and can

also be used

for

manu-

ally controlled

single

frame filming. The
master switch must first be moved to the
red

dot

position. The

electric

remote re-

lease comprises a

10

m (33 It) reel of
cable, only 1.2 mm (0.05 in) thick, a push
button release and a

connection

for

attach-

ing another 10 m

(33

It) of extension cable.

If necessary, several reels of cable can be
connected

together

so

that

the camera can
be operated from a maximum distance of
100

m (330 It) away.

The

electric

remote release permits filming

with a concealed camera,

or

shots in which

the cameraman himself appears

on

the
screen. The camera should be set up ri­gidly

- preferably on a tripod - in

front

of

the scene to be filmed, the scene should

be

correctly

framed by operating the zoom
lens, and the exposure control set to
«automatic» . The

electric

remote release

plug should be inserted in the second

socket to the

lelt

of the carrying loop. The

connection

for

further

reels of extension
cable is located on the remote release reel
next

to the push button release.

Connection

for electric

remot

e release

The film cassette

Suitable films for your camera

The Nizo

801,

561

and

481

models are

designed to accept Super-8

film cassettes.

When the camera is

loaded, the automatic

exposure

control

is

set to the film speed

of

the film stock inside the cassette. The fol-

lowing film

speed ranges are available:

Artificial

light

color

film from 13 to 23 DIN

(= 16 to 160 ASA)

Daylight

color

~ilm

from

11

to

21

DIN

(=

10

to

100 ASA)

Black-and-white film from

11

to

21

DIN

(=

10

to 100 ASA)

Inserting cassettes, checking camera

loading

Open the flap on the rear end of the ca-

mera and insert the cassette

into

the

com-

partment with the film aperture at the front.

The

circular

recess on the cassette should

be on the control knob side of the camera.

If the cassette is inserted the wrong way

round, the

flap will

not

close. In

this case,

do

not

use force, but remove the cassette

and insert it the

other

way round

as

de-

scribed.

The cassette

itself

automatically

adjusts

the exposure

control

to suit the type of film

stock being used. The film

counter

returns
to the start position when the cassette
compartment

flap

is

openeed. The

counter
also runs when there is no cassette in the
camera. The

outer

scale

indicates

the

length

of

film still available in meters, the

inner

scale in feet. The smooth side of the
camera (opposite to the side incorporating
the

controls)

includes a window

which

enables you to check

whether

the camera

is

loaded and

what

film stock

is

being used.

If film

is

passing

out

of the cassette,
through the camera and being returned to
the cassette

correctly, a red illuminated

signal

will

appear

at

intervals above the
viewfinder image. As the

length of available

film

is reduce'd, the intervals between the

light

signals

will

become

longer. When the

end of the

film is reached, the

indicator

lamp above the

viewfinder

image will re-

main on

continously. You can check

that
the film has been run completely through
the camera by

looking

for the word «Ex-

posed

..

in the film aperture of the cassette

after

removal.

The built-in filter

Super

-8

color

films

are manufactured to

suit the

lower

color

temperature of artificial

light.

A built-in conversion

filter

(red) ad-

justs the

color

temperature to suit daylight

filming

when the red

triangle

on the film

switch

is

turned to face the sun symbol.

When filming in

artificial

light, the red

mark

should be placed

opposite

the lamp sym-

bol.

The

special

setting

is

indicated

by a

red
lamp

symbol

on the right, above the view-

finder

image, when the camera is running.

Note this

symbol

if

you film in daylight, to

prevent

a heavy blue tinge on

your

films

when developed.

For

all black-and-white film and

daylight

color

films, the filter switch

mark

should

always

be

left

against the sun symbol.

10

11

Exposure control

By pressing the button

marked" + 1»

in the

center

of

the

filter

switch, you can film with

the automatic exposure

control

still in

operation, but with the

lens

aperture 1 stop

wider

open than normal. This

corrected

setting remains in effect

only

when

the

spring-loaded

button

is

pressed.

The

button should be used when the

more

important

elements in the scene you are

filming

are

in

shadow, and

other

areas

brightly

lit. This will usually

occur

when

filming

against the sun. The 'plus-one' ex-

posure

correction

device

is

also useful

when attempting to film

particularly

dark

subjects

in overcast conditions.

Meter battery

The

CdS automatic exposure

control

is
powered by two 1.35
volt

Mallory

PX

625

cells

. The battery

compartment

is in the
camera base and can
be reached by swing­ing back the handgrip.
The compartment
catch can be opened
by using a coin in the

screw

slot. The plus

(+)

symbol on the

first battery to be in

serted

should face to-

wards the base of the

battery compartment,

the

+ symbol on the second cell should be

touching the end of the first battery; if the
cells are

incorrectly

inserted, the automatic

lens iris mechanism

will

not operate. Sym-

bols are provided in the battery

compart-

ment to show how the batteries should be

inserted

correctly.

Checking voltage of meter batteries

First set the mast er

electric

switch to the

red dot, then press the button in the

center

of the exposure control knob. The pOinter

a

utom.

manual

Checking
meter battery

on the

scale below the

viewfinder

image

should move across as

far

as

the

figure 8

(colored red

for

ease

of

identification). If
the pointer remains more than its own width
to the

right of the

8,

two new meter battery

cells should be inserted.

If

the

pointer

comes to rest to the left

of

the

figure

8,

un­suitable (e.g. 1.5 volt) cells must have been
inserted.

In each case,

incorrect

film expo-

sures

will result.

Automatic exposure control

The CdS

automatic

exposure system of the

Ni

zo camera measures light passing

through the

lens. The meter readings can

be seen on the

scale beneath the view-

finder

image. Note

that

the automatic ex-

posure

control

system only operates accu-

rately when the camera

is

loaded with a
film cassette. Furthermore, it is impossible
to

compare

the reading shown

on

the

built­in scale with those obtained using a sepa­rate exposure meter (even a good

quality

unit

from the same manufacturer, Gossen).

This

is

because the Nizo exposure meter

takes into

account

the varying focal lengths

of the zoom lens, the

light

absorbed by the

numerous

elements in the zoom lens and

the camera

viewfinder

prism.

In

other

words, the

built-in exposure

control

system

has been

accurately

matcheQ to record the

light

actually falling on the film in the Nizo ·

camera.
If the pointer is opposite the left or right

warning marks at

either

end of the scale,
the filmed results may still be satisfactory,
but

correct

exposure cannot be guaranteed.

If the

light

is too strong, remember that

your

camera has a reduced exposure time

facility; if very little

light

is

available,

the

corresponding

extended exposure device

can be used (both

of

these systems are

described in

the

section covering use of

the

variable shutter). Alternatively, more

sensitive stock such as Ektachrome

160

may be used

or

the scene illuminated with

halogen floodlights .

Manual control

of

lens aperture

The automatic system can be switched

off
and any desired aperture setting selected
by hand.

The

exposure

control

knob must

first be turned from

«automatic» to «manu-

al».

The pointer on the exposure scale in

the

viewfinder

will now respond to rotary

movement of

t~e

control

knob .

In

this way the exposure values calculated
by the automatic system can be corrected,
for

example if the most

important

part of

the scene

is

considerably

lighter

or

darker

than the surroundings .

The

light

emitted by

the

object

to be filmed should then be
measured with the automatic exposure sy­stem by bringing the camera much

closer,

or

else by zooming in on the

object

before

taking a reading, so that the

surroundings

are eliminated. The iris setting recorded by

the exposure meter in the

viewfinder

should

then be selected by hand.

Example: The automatic exposure system
indicates figure

16

when filming a

subject

in the

middle

of

an

area covered with snow

and in

bright

sunlight. If the scene is

actu­ally filmed at this exposure setting, the sub­ject

will be far too dark, as the camera

will

expose the surrounding snow area

correct-

ly. In

other

words, the exposure requires

correction

for best resu Its.

Another

example: When filming subjects

against the

lig'ht, they will normally appear

as

silhouettes;

if

you wish to bring

out

the

full details of

your

subject

on the screen,

turn round before starting to

film and mea-

sure exposure 'with the

light'. Select this

exposure

value manually and then film

your

scene against the light.

Always remember to return the exposure
control

knob from «manual» to «automatic»

after you have

completed

a specially ex-

posed shot

0;

this kind.

In

most cases requiring additional expo-

sure, the

«plus 1

II

control

(described in the

previous section)

will

normally

enable the

desired

results to be obtained.

Rangefinding and focusing

Viewfinder eyepiece adjustment
(diopter compensation)

Before

the through-the-Iens rangefinding
system can be used, the viewfinder must be
adjusted to

suit

the cameraman's eyesight
(as with binoculars). The eyepiece of the
Nizo camera is provided with a

knurled
ring. Turn this ring'until the horizontal divi­sion across the center to the rangefinder

appears

perfectly

sharp. This

wHI

be easier

if the camera is kept pointed at a

plain

background (walls, sky). The

adjustment

can be carried

out

at any focal length

or

focus

setting.

The split image rangefinder

The

split

image rangefinder operates with

two measuring prisms which

appear in the

center

of the viewfinder

as a circle

divided

by a

horizontal line.

If

the vertical

outlines

of the

subject

being filmed are displaced

to

one

side as they cross the horizontal

line

of the rangefinder, the focusing ring on

12

13

the lens should be turned until the vertical
outlines appear uninterrupted.

Before using the rangefinder, always

select

the longe

st

available focal length

(80,

56

or

48 mm, depending on the zoom lens

fitted

to your Nizo camera).

Accurate

rangefinding and

focusing

is

of

particular

importance when

filming

at

long

focal lengths (from about

30

mm upwards),

filming

closeups at less than 3 m

(10

ft)

distance, using add-on adapter lenses

or

shooting in bad

light

(with the lens iris

wide

open).

Making best use of available depth

of

focus

The

Super-8 film format has been designed
to provide ample depth of focus. This can
be seen from the depth of focus chart sup­plied with camera. At its widest angle

(7

or

8 mm), and up to average focal lengths

of

about

15

mm, the depth of focus of the
zoom lens makes absolutely accurate fo­cusing unnecessary

for

average shots

(even when filming at

wide

apertures) . The
4 m mark in the lens focusing ring and the
15

mm

mark on the zoom lens focal length

scale are

colored

red. If you fi.lm at these

settings , your pictures

will

be sharp from a

distance of 1.

74 m (5

.7 ft) to infinity, even

if

poor light

conditions

cause the automa-

tic

exposure system to open

up

to aperture

setting

4.

This generous

depth

of focus

will
prove of great value when you have no time
left to take

an

accurate reading on the

rangefinder.

At

shorter focal lengths the

depth of focus is

incr

eased, whereas longer

focal lengt hs have very

little

depth

of focus.

This is the reason why

your

shots may

not

remain sharp

if

you zoom from wide angle

to telephoto end of the focal length scale.

Selecting focal length

General description of zoom lens

The zoom lens (actually a «variable focal
length

lens») enables you to film entire

sequences

incorpor

ating general wide­angle shots , semi-clos eups and extreme
closeups if required,

without

changing the
position of the camera. The zoom lens uses
special individual lens c

lu

sters to provide
a variety of focal lengths and filming
angles.

On

the Nizo S

800

zoom lens, the

acceptance

angle of the lens varies be-

tween

42

° and 3°50'. The longer the focal
length at which you are filming, the more
important

it becomes to hold the camera

absolutely steady.

At

focal lengths above

approximate ly

40

mm, you must

support

the

camera

or

your

hand absolutely

firmly

if

you are not using a tripod.

In

addition, the

automatic

power

zoo m enables you to imi-

tate tracking shots,

for

which the camera is

normally mounted on a mobile dolly.

Varying the focal length

You can sel

ect

the desired focal length be-

fore

start

ing

to

film by moving the small
handle of the focal length sca le. This ena­bles you to

start

your

shot at the desired

focal length

without

wasting film.

The

control

buttons

for

the automatic

power

zoom are

locat

ed on the housing of

the Nizo camera. The black knob nearer the

lens reduces the focal length (wide ang le),

the green

knob

on the eyepiece side in-

creases the focal length (telephoto).

There are two power zooming speeds.

If

either of the power zoom

control

knobs is

pressed

only lightly, the focal length

will

change slower than

if

the knob is pressed

more

firmly. Tracking and zooming appears

still smoother on the screen if you film

these shots as 24 frames per second.

Manual zoom

control

(on Nizo 801)
A special feature of this Nizo model is the
ability to switch ,off the automatic

power

zoom and vary the focal leng·th with a lever

(supplied

with the camera). Hand zooming
enables you to determine the speed of
apparent

movement accurately, and also
permits very rapid zooms during a shot by
moving the

lever round

as

fast as possible .

The lever should be screwed to the

mount-

ing on the focal length scale. The

power

zoom mechanism is switched

off

(and the
lever becomes easier to move) when the
mark on the

black knurled ring between the

focal length scale and the camera body is
turned

fully

clockwise

until opposite the 0

mark on the body.

Camera running speeds

Slow

motion

facilities (filming speed
switch 1)
The

normal running speed of the camera

is 18 frames

per

second, each frame being

exposed

for '/43rd

of a second . Any

filming

speed above

18

frames per second setting,
will result in a slow motion effect, and all
filming

speeds below

18

frames

per

second

wil'l

produce

a speeded-up effect if

projec-

ted at the normal setting.

With the aid

of

filming speed switch

1,

you
can change from the standard running
speed of

18

frames per second to the

slow

motion

speeds of 24

or

54 frames per se-

cond

. If film

shot

at 24 frames per second

is

projected

at

normal speed, all move-

ments

will appear '/Jrd

slower. This is

not
the same as genuine slow motion,

but

is
useful

if

the camera

is

moved over a long

distance,

for

example during a long pan

or

when filming from a

car

being driven along

a rough road .

54 frames

per

second is a genuine slow

motion speed. When projected

at

18

frames

per second, scenes

win

be prolonged to

three times

their

original length. Fast move-

ments

filmed in this way can be studied at

leisure

during

projection . Since one se-

cond's

filming time yields three seconds

on the screen,

filming at the slow motion
speed is sometimes a way to gain a better
impression of sudden

or

very

brief

events.

The automatic

slow motion device on

your

14

15

Nizo camera means that you can

select

the

slow

motion filming speed

without

the
slightest delay when you need it. The black
button in the

center

of filming speed switch

1 enables you to pass smoothly from 18

or

24

frames per second to

54

frames per se-

cond

and back.

At

54

frames per second, the individual,

frames are' exposed

for

only

l/129th

of a
second. To compensate for this, the iris
opens by approximately

1.5 numbers . Un-

der

difficult

exposure

conditions

this

could
mean that inadequate depth of focus is
available.

If

you have sufficient time avail-

able,

it

is therefore best to take a

quick

rangefinding reading at the max imum focal

length

you intend to use.

Speeded-up filming (filming speed switch 2)

With the aid of filming speed switch 2 (an

automatic

single frame filming device)

your

Nizo camera provides facilities for

time

Automatic single-

Sing

le frames using cabl

e

fr

ame exposu

re with

or remote rel

ease

automatic extended /
exposu

re contr

ol

• .

--Standar

d speed

\

autom.B

®

timer

a

pprox. 1 frame

per mi

nut

e

a

ppro

x.

6 fram

es

pe

r seco

nd

lapse filming at any speed between 6 fra­mes per second and 1 frame per minute
(minimum). Note however

that

tolerances
in manufacture may vary between indivi­dual cameras, and result in a

slight

further

increase in the

interval between exposures.

For this reason the

scale

for

filming

speed

switch 2 cannot be

accurately

'calibrated in

frames per minute. For

practical

time-lapse

filming, it

is

so easy to establish the inter-

val between one

or

two frames that the

extra cost of

an

absolutely

accurate

timing

device has not been passed onto you.

The fully-automatic Nizo time-lapse

filming

system not

only

takes

care

of the actual

film

transport

but

also

controls

exposure

accurately. For this purpose,

filming

speed

switch

1 must

be

set to 18. After this,

the

Nizo camera can be left to operate entirely

unattended, provided that ample

electric

power and film stock is available.

When the mark on speed switch 2 is oppo -

site the first

black rectangle on the semi-

circular

scale

(not

the

separate black rec-

tangle, which identifies the position

for
manual single frame filming using the cabl'e
release,

nor

the «autom. 8» position, which

is

for

automatic extended exposure con­trol). running speed will be six frames per
second and the action on the screen

will

appear to take place at three times its

nor

-

mal speed. The Nizo camera will beg'in to

operate in this case as soon

as

the contin -

uous run

release on the base next to the

carrying

loop

attachment is lifted away

from its catch and swung

fully to the right.

The

normal

shutter

release

on

the hand-

grip

need not be pressed.

• •

;--".

~

0·

II I

. 'I ,

• . I

' . .

....

';C~"

f. ' .

)1

.,

.. ' ...

\'

.. \\' ,

.

,.

As you turn

filming

speed switch 2

further

to the right, the interval between frames in-

creases.

Two

frames per second,

for

exam-

ple, represent action speeded up nine

times in

relation to the original scene, If the

Nizo is used to

film

only

one frame per

minute, the complete action taking place
during one hour will be shown on the
screen in

3.3 seconds

if

the

projector

is

running at

18

frames

per

second (speeded

up

1080 times).
If you use a filming speed between 6 and
approximately 2 frames

per

second, it is

.

not

absolutely necessary for the camera to

be attached to the

tripod

. However, you

must

hold

the camera very steady, avoid

panning

or

tracking with the zoom lens and

remember that

in

order

to obtain 1 second

of viewing time

on

the screen you must

shoot for

3-9

seconds.

Genuine time

lapse cine photography, on

the

other

hand, calls

for

the camera to be

mounted

absolutely rigidly on a tripod. As
a temporary measure, the Nizo can be
rested on its handgrip , but remember that
this

will

limit

you to the field of view

ob­tained where the camera happens to be
resting.

Animation

If Single frames are exposed at prolonged
intervals, you

will have time to rearrange

the position

of

inanimate

objects

between

each exposure. For instance, you

could

raise

or

lower

the arm of doll by a small

amount each time

or

push a matchbox a
small distance further across a table ­these are just two

simple examples. When

these

single exposures are

projected

at the

normal continuous speed of

18

frames per

second, the inanimate

objects

come to life

on

the screen. The

doll

waves her arm and

the match box

travels to and fro across the

table.

For all shots of this type, the camera must
be mounted

absolutely rigidly. It

is

best

for
it to be attached to a substantial tripod. If
the camera position is moved

accidentally

halfway

through

a shot, it is best to change

to a

shot

taken from another viewpoint

or

at another focal length in

order

to disguise

the

jump

in the action. The camera shutter

can be

operated

manually with a cable'

release

or

by means of the

electric

remote
release. However, you can also set the
automatic

single frame device to make ex­posures at suitable intervals, so that you
need not move backwards and forwards

constantly between the camera (to expose

each

single frame) and the

object

you are

filming (to

alter

its position slightly). All you

need to do is to

select

a filming interval at
filming speed switch 2 which gives you
sufficient

time

to rearrange

or

move the

object

you are filming.

Flash illumination for time lapse filming

Since the interval between exposures in
this type of

single frame

filming

is

quite

long, each separate exposure can

quite

easily be illuminated by means of

an

elec-

tronic

flash gun of adequate power, which

at the same time supplies a natural

light

at

a

color

temperature

similar

to that of day-

light. A

further

advantage is that

objects

sensitive to heat (plants, thin gels

for

ani-

mated

films, etc.) are not continually ex-

posed to the heat of spotlights

or

photo-

floods. Your Nizo camera is therefore

pro-

vided with a connection for the flash gun

synchronizing

cable (at far left of camera

base).

Connection

for electronic

flash

The

electronic

flash

unit

must be of ample

capacity

since

18

flashes are required to
illuminate one second's filming and should
also

be capable of repeating its flashes
frequently enough for lengthly series of
single shots to be filmed. The flash gun

must have recycled, ready for the next shot,
before the camera

timer

has advan.ced the
film.
Braun offers three

electronic

flash guns (all
equipped with a swivel reflector) which
meet the requirements. The Braun F

800

is

a

large, two-section professional

unit

which

can

supply

up

to

400

flashes (depending on

the storage battery used) at minimum inter-

16

17

vals of two seconds. Special features: the

Braun F

800

can be operated by the so -

called

duplex

system from the mains when

making animated

or

time lapsed films; this

greatly increases its capacity. In

addition

,

its storage battery cari be used

as

an

out-

side

power source together with the camera

supply

lead , if the Nizo ZSSA cable is in-

corporated

into the setup.

The

single-

unit

Braun

2000

VarioComputer
flash gun is currently avail able in three mo­dels: F

022, F 027

and

40

VCR. The

only

difference

between these is in the guide

numbers

of 31,

38

and

40

respectively for

21

DIN film. The

power

consumed by these

flash units depends on the filming

distance

and also by the amount of

light

absorbed

by the

objects

being filmed. At a filming

distance

of 1 meter and with a background

which does not absorb too much

light, flash

intervals

of approx. 1 second can be re-

peated about

1000 times (type F 027).

Practical

hints

for

Nizo filming using elec -

tronic

flash:

The

light

produ ced by the

electronic

flash gun has th e same

color

temperature as daylight. The

filter

switch

on

your

Nizo camera should therefore point

to the sun

symbol.

The flash intervals must be

shorter

than the

time

lapse interval selected at filming

speed switch 2. .

The

lens iris on

your

camera must be
opened by one stop more than the expo ­sure

calculator

on the flash

unit

states,

since the

light

splitting prism in the Nizo

camera and the

exceptionally

large

number
of elements in the zoom lens must be taken
into

account

(see «manual

control

of lens

aperture»).

The

variable shutter

General description of variable shutter
mechanism

The

variable

shutter

is the <<light trap» of

your

film camera. It is a

disc

rotating in

front

of the film gate. While the

disc

is cov-

ering the gate, the

film

is

advanced by one

frame. When the

cutout

in the disc is

oppo

-

site the gate,

light

can strike the surface

of

the film.

On

the Nizo cameras the cutout on

the shutter

disc

can be con·tinuously varied

in size

while the

shutter

is operating, so

that fade-in and fade-out effects can be

produced. In

addition, deliberate reduction

of.

the shutter area (size of cutout) reduces

the exposure

time

if

this proves necessary,

or

alternatively the exposure

time

can be
prolonged by stopping the shutter in the
open position in

front

of the film gate.

Fade-in and fade-out effects

To fade out a scene, hold the camera han­dle

in the right hand. With the

other

hand,

move the variable shutter lever (at

left

of

camera base, next to shutter

release)

smoothly

and slowly back

as

far as the rear

stop, while the camera

is

still running. After

this, stop the camera

motor

by removing

your

finger

from the shutter release. Only

then should the variable

shutter

control
lever be allowed to return to its original
position.

To produce a fade-in effect, the variable
shutter lever

shCluld be pulled fully to the

rear before the camera

motor

is started.

Next, press the shutter release and

allow
the variable shutter lever to move fully for­wards at much the same slow, smooth rate
as used

for

the fade-out.

In

most cases, the
fade-out of one scene will be followed by
the fade-in of the next scene .

Automatic dissolves

A smooth transition between two scenes
can be obtained by fading out, rewinding
the length of film used for the fade and
fading in the new scene over the top of the
last few frames of the previous scene. The
automatic dissolve mechanism on

your

Nizo
camera ensures that the fade-out and fade­in sections of the dissolve

coincide

exactly,

and

is

thus capable of

producing

reliable
and smooth dissolves entirely automatical­ly.

Dissolves

should

be

performed

only

at

18

or

24 frames per

second

running

speed.

You must operate two

controls

to produce
a dissolve. To start the process, press the
R button on the camera

for

at least 1 se­cond at the end of a scene. Then release
this rewind button and also the shutter
release. The

next

stage in the process

is

automatic: the

scene

is faded out in 3.5
seconds (63 frames) and this precise length
of film rewound into the camera . Finally,
the

motor

stops automatically.

The camera

will

not

restart unless the R

button is

pressed

in

addition

to the shutter

release.

In

other

words, the next scene must beg'in
with a fade-in, and this should be taken into
account

when

determining

the length of
the shot.
You will

appreciate

that

after a fade-out
has been filmed and the film rewound, the
necessary fade-in

to

complete

the dissolve

must

follow

or

else the filni will be over­exposed and spoiled. The automatic mech­anism on the Nizo camera ensures that you
do not forget to

complete

the dissolve. A

further indication is provided in the

window

above the film

counter:

if a R is visible on

black background, the film has been

re

-

wound, and is ready

for

the fade-in forming
the second part of the dissolve.
D

on

a white background indicates normal

camera operation . A dissolve can then be

produced at any time by the fade-out and

rewound

process described

above.

Instead of the control button, a camera
release can be used: this is screwed into

the socket

next

to the button.

Warning: Always

avoid

starting a dissolve

at

the

end

of

the film run,

as

it

cannot be

guaranteed

that

the complete dissolve

will

take

place

correctly..

This is explained by the fact

that

for

each
dissolve the camera rewinds a section of
film approx.

27 cm (10.6 in) long into the

Super-8 cassette. However, at the end

of

each film there is insuff'

icient

room in the

cassette

for

the rewound film to be inser­ted.
The film rewound into the cassette is then
bent back upon itself several times.

If the

film stock does

not

slide smoothly, the cas-

sette may jam

or

damage be caused to the
film.
If this occurs,

interrupt

the

power

supply

to the camera

motor

immediately by swing-

ing back the handgrip, pulling

out

the ac-

cumulator

plug

or

setting the master

elec-

tric

switch to figure

O.

Open the cassette

compartment

and loosen the casseHe

slightly, preferably, by pulling

it

out

by

about 1 cm (approx.

'j,

in). Reconnect the

power

supply

or

switch on the camera

mo-

tor

again so

that

the dissolve cycle can be

completed. Then

re

-insert the cassette and

close the cover.

Do

not attempt any

further

dissolves using this cassette. If a

particular

film stock regularly gives trouble when dis-

18

19

solves are attempted, they

should

be avoid-

ed when this type

of

film is used in the

camera.

Nizo automatic exposure time reduction
system

About

midway

between the

front

and rear

stops

on

the

variable

shutter

mechanism at

the

112

marking,

the

lever can be retained

by a

detent

if the lever

knob

is pulled

down

sli

ghtly

and released.

In

this

position

the exposure time

per

frame

is reduced by

half, from the normal

1/

43r

d

second

at 18 frames per

second

to

approxi-

mately I/S6th

second. In the same way, each

frame

at the 24 frames per

second

speed

is exposed for

only

1/115th

second

instead

of

I/S7th

second.

Do

not

use the automatic exposure time

reduction

system when

filming

at

54 frames

per

second, since the lens aperture

control

cannot

accommodate

t'1e

resulting

high

shutter

speed

.

At

the two slower filming speeds, the

expo-

sure

contro

l will automatically respond to

the

reduction

in exposure

time

of

one

half

by opening

the

lens iris by one

comp

lete

stop.

Automatic

exposure

correction

then

continues

normally. This provides you

with

the

following

additional fi·

lming

facilities:

1.

You can

continue

filming when

the

avail-

able

light

is so

bright

that the

exposure

meter needle in the

viewfinder

has already

reached the

warning

symbol (grey

filter

's

need

not

be fitted to the lens).

2. A delib-

erate reduction in depth of

focus

by halv-

ing

shutter

speed and

opening

the lens iris

by one shot

enables you to film

objects

against

an

indistinct, partly

out-of-focus

background. 3. Moving

objects

are more

sharply

outlined

at the increased

shutter

speed. However, it is then

particularly

im-

portant

to film fast moving

objects

at an

acute

angl

e,

or

else

their

movement

will

appear jerky.

After

filming

with the Nizo

automatically

reduced

exposure time system in use, do

not

forget to disengage the variable

shutter

lever

and

allow

it

to return to its

normal

position.

Increased exposure times

If you are filming single frames (time lapse
filming),

the

periods

of

time between the

exposure and

transport

of

the in

dividual

frames are,

of

course, much

larger

than at

the

normal 18 frames

per

second

filming
speed. You can make use of the increased
intervals by

increasing

the

exposure

time of

the

single

frame. This

combination

of auto-

matic time

lapse filming and increased

exposure time

enables a

satisfactory

film

to be made of

objects

in extremely

poor

light

conditions.

For

example,

shots taken

inside museums, churches

or

other

poorly-

lit

buildings

can be

carried

out

success-

fully

without

recourse

to filming still

photo-

graphs, slides

or

other

material.

Depending on the single frame

filming

rate

chosen,

the

exposure

time will vary be-

tween l/sth

second

(at 6 frames per second)

and

1 minute (at 1 frame

per

minute) . As

soon as you move the

variable

shutter

lever

past the safety catch into

the

shaded area

marked on the

camera

base (by pushing

down

the

lever knob), the

cutout

in the

shutter

disc

will

remain stationary in

front
of the film gate. The film will be exposed
until the

automatic

mechanism

controlled

by

filming

speed switch 2

transports

the

next frame

of

the

film into posit ion in

front

of

the gate,

whereupon

the

shutter

will

rotate

once

to prevent

light

from striking

the

film

as

it is advanced. Move the vari-

able

shutter

lever back to the rear stop.

Press

the

safety catch in (marked with a

white dot).

This

will enable the lever to be

moved

further

into the shaded area on the

camera base.

Release the catch . The lever

is then locked into position.

Warning: With the variable shutter lever in

this position, the film frame in the gate
will

be

exposed

at

once. You shou

ld

there-

fore

only

engage the

increased

exposure

mechanism

after

the camera and the scene

to be

filmed

have been fully prepared.

As

for

all

filming

at extreme time-lapse

speeds, the Nizo

camera

should be

screw-

ed

firmly

to the

tripod

or

rested on

the

handgrip

on

a surface free from vibration.
The time-lapse intervals should then be ad­justed - longer

or

shorter

- to

suit

light

conditions. As

in

still photography,

an

approximate estimate

of

exposure is usual-

ly

sufNcient, since long exposures are em-

ployed in

light

conditions

which rule

out

the possibility of

an

accidental

overexpo-

sure and indeed in which any extra

light

can only help to improve

picture

quality.

The automatic exposure

control

on

the

Nizo camera can

therefore

be allowed to

remain in operation.

After

filming

at

increased

exposure, do

not

forget to return the variable

shutter

lever

to its

normal

condition,

or

else the

first

frames

of

all

succeeding

shots

filmed

under

normal

light

conditions

will

be so severely

overexposed as to

appear

white on the

screen.

Automatic extended exposure system

If you none the less wish to employ the
automatic exposure control, place the
marking on filming speed switch 2 against
the setting «autom.

B»,

and remove the

lens hood from the

front

of the lens barrel.

In

these light

conditions

the lens hood

is

not

required in any case. Next, pull the

variable shutter lever past the detent button

into the shaded area, as

described

in the

preceding

section

of this manual.

If you now move the continuous-run re­lease on the

opposite

s.ide of the camera

base

to

the

operating

position, the sepa-

rate automatic exposure system

will

deter­mine the elapsed-time filming speed (rate
of exposure of individual frames). You will
appreciate

that

use of the automatic ex-

tended exposure

control

is

worthwhile

only

in

poor

light

conditions.

Warning:

Make

sure that the

window

below

the namepl'ate on the

front

of

the camera is

not obscured:

as

it conceals the special

automatic exposure

control

cell. This is

provided so

that

your

Nizo camera can (un-

like the normal

through-the-Iens exposure
measurement system) measure general
exposure levels

without

being unduly in-

fluenced by individual small-area

light

sources,

for

instance lamps

or

candles.

Synchronized sound recording

and filming

To the left of the carrying loop attachment
on the base of the Nizo cameras

will

be

found a

connecting

socket for the

pilot-

tone

lead to a tape recorder. These Nizo

camera models

incorporate

oscillators
(impulse transmitters) which transmit a
1000 Hz impulse

for

every fourth frame

passing the gate . These are recorded by

way of the connecting lead on one track

of
the tape. The remaining tracks of the tape
are available for the actual sound

record-

ings.
The impulses control (in

accordance

with
the standardized sound system) the run ­ning speed of the

projector

when the film
is screened, and thus keep the film images
and the sound on tape synchronized. The
Synton

FP

tape coupler, supplied by

the

Braun

AG

company, should be inserted

between the tape

recorder

and the Braun

FP 7 projector

, which is provided with the

necessary connections.

20

21

The

summary chart on the

adjacent

page

shows

the range of sound leads available

as accessories

for

various tape recorders.

If

your

tape

recorder

is

not shown in the

list, use the Nizo N cable and have a plug

attached to

suit

the connection on the tape

recorder. The operating

instructions

sup-

plied with e'ach Nizo sound lead

include

hence

on assembly. For synchronized

sound recording in

conjunction

with a

hand-held camera, a

compact

cassette

tape

recorder

is the most suitable

for

the

purpose.
The

booklet

«Sound Filming with Braun

Equipment» provides detailed

information
on synchronized sound filming and the
preparation of a sound track

for

existing

films. It is one of the

photographic

booklets

published by the Braun AG company (see

list of

publications

in the

Appendix

in this

manual).

Accessory range of pilot tone recording leads

Article

Brief

number

reference

7690958

UC4

7690958

UC4

7690954

US

4

7690956

UV

4

7690950

Ph

4

7690957

N

To suit tape
recorder

Uher CR

210

stereo

Uh

er

compact

stereo 124
Uher report

stereo

Uher report
4000,

4200,

4400

(including

stereo

version)

Philips

2209

AV

For

other

suitable
tape recorders
(preferably with
remote

control)

Remarks

If

necessary, use adaptor plug

K 938

as

supplied by the

Uher

Co.

Uher

report

stereo tape recorders

can be used

for

pilot

tone

record-

ing

without

modification. One
stereo channel is used for the
sound recording, the

other

for

the

pilot

tone. Each stereo channel has

an

input

amplifier, so that the pilot

tone

connecting

lead should be

provided with

an

impulse

attenuator.
In

conjunction

with subsequently

installed impulse

head and

SV

4000

cable

supplied by the

Volland Co.

«N»

indicates

that the lead is

«neutral» and can be used for

any

suitable tape recorder. A plug

su

itabl e

for

your tape

recorder
socket should be attached to the
free end of the

cable.

All

of these sound leads are intended

for

pilot

tone

impulses

corresponding

to each fourth frame of the film.

Cables

for

pilot

tone transmission on every frame of the

film are available on demand. All cables are approx. 3 m

(9

It

10

in) long.

Extreme close-ups

Three different

adaptor

lenses are available

for

all Nizo film cameras, so

that

extreme

close-ups can be filmed.

In

conjunction
with the extended focal lengths of the
zoom

lenses fitted to Nizo cameras, the

adaptors provide a

field of view amounting

to

only a few centimeters and filming

facilities

right down to

microscopic

size.

High

focal lengths must be used for so-

called «macro,.

or

contact

photography,

without

which close-ups of insects and

similar

subjects'

cannot

be achieved. In
addition, the telephoto lens position helps
to maintain natural prospective. Even with
a

close-up adaptor attached to the lens,
you can still use the variable focal length
of the zoom lens

without

any

limit

ation to

compose

your

picture

or

to film tracking

shots. The rangefinder

simplifies

correct
lens focusing and the automatic exposure
control

adjusts the lens aperture in the
usual way. If you use a tape measure to
ensure that the focus setting is

abso lutely

accurate, measure from the film plane

mark

on the camera body if you are filming

without

a lens adaptor (the film plane mark

is the

Cb

symbol next to filming speed

switch 2). When

filming with a lens adaptor,

measure from the rim of its

lens.

Nizo lens

adaptors

must

be

used

one

at

a

time;

you

should

never attach

more

than

one

adaptor

to the

main

zoom lens at once.

For the Nizo

561

and

481

For the Nizo

801

List of adaptor lenses

Close-up Filming range
Adaptor

Nizo NL 1 1.0 to 0.47 m

(3.28

to 1.54 It)

Nizo NL 2

0.50 to 0.32 m
(1.64 to

1.05 ft)

Nizo NL 3

0.33 to 0.23 m

(1.08 to 0.

79

ft)

Nizo NL

8001

1.50 to 0.72 m

(4.92 to 2.36

It)

Nizo NL

8002

0.80 to

0.51

m

(2.62 to 1.67

It)

Nizo NL

8003

0.50 to 0.37 m

(1.64 to

1.21

It)

Minimum

Minimum size of

scale

of

field of view

filmed

image

45 x 33

mm

.

1 :

8.3

(1.77

x pO in)

31 x 23

mm

1 : 5.8

(1.22 x

0.91

in)

22 x 16

mm

1 :

4.1

(0.87 x 0.63 in)
50 x 38

mm

1 : 9.5

(1.97

x 1

.50

in)

35 x 26

mm

1 :

6.5

(1.38 x 1.02 in)
26 x 20

mm

1 : 4.8

(1.02 x 0.

79

in)

22

23

Lens filters

In

all normal filming conditions,

your

Nizo

camera

will

give excellent results

without
the use of additional lens filters. For this
reason, no

filters are

included

in the stand­ard range of accessories . However, if you
feel that color film shots taken in

bright

dayli

ight

under a blue sky

or

showing large

area of

water

appear excessively blue on

the screen , we recommend you to

install a

CR 1.5

filter

(also known

as

a «sky

light

»

filter)

on

your

camera lens. In this event,

ask

your

photographic

dealer

for

a reput -

able make

of

filter

with the thread dimen -

sions

49/58

for the Nizo

561

or 62/

67

for

the Nizo

801

camera. This

filter

restricts the

passage of

blue tones, blocks a

proportion

of the ultraviolet

light

str

iking the film and

helps to dissipate the haze

effect

some-

times seen on hot days.

Special ultraviolet

filters

are unnecessary,

since

'the lens

cluster

used in

your

zoom lens already

restricts the passage of

ultraviolet

light.

Never use a polarizing filter on your
camera.

Your Nizo camera, like most Super-8 ca­meras of this type, uses a

light-splitting

prism, which itse lf has a polarizing action.

If

you film through

an

additiona

l polarizing

filter, the two effects may be

multiplied

and

you are warned that

incorrect

exposures

will

probably

result.

The carrying case

A carrying case is available for

your

Nizo
camera, to provide adequate protection
while ensuring that

the

camera can be
easily reached when needed. The case has
been

thoroughly

tested in

practice

. For

this reason, you

should ensure that you are

offered

only a genuine Nizo carrying case

for

your

camera.

The camera is

placed

into the case with

the

handgrip

folded back and the lens at

the front.

If

you prefer, you can leave the

handgrip

projecting

out

of the case and

can

close the zip fastener until only the

handgrip

protrudes.

The

upper

side pocket

accepts

two spare

film cassettes . You can save space by re-

moving the

outer

pack beforehand. The

low

er

pocket is intended

for

a remote re-

lease, filters

or

other

small items. A loop is

formed on the zip fastener seam to

hold a
cable release (or alternatively the manual
focal length

adjusting lever

for

the Nizo

801)

.

A breakdown on

your

Nizo camera is a
very rare thing. However, there are certain
minor

defects which can be caused

byac

­cidental errors in operation; even the most
careful design

cannot

always

avoid

these;
For example, the batteries can give rise to
apparent

or

genuine defects.

In

such

an

event you

will

be able to trace and rectify

the

fault quickly and

without

outside

help

if you

follow

this trouble-shooting chart.

Minor faults and their remedies

Camera will not start

Possible cause:

Main switch

not

turned on

Drive batteries defective

or

exhausted

Oxidation

of

battery poles

"R"

button was

not

pressed after film

rewind

Automatic

single-frame

device (filming

speed switch

2)

is switched on

Camera starts jerkily

Po

ssible cause:

Drive batteries too weak

Current consumption too high

Possible cause:

Main switch was not

turned

off

during a

prolonged non-filming period

"

Tired"

or

run-

down

batteries were

inserted

Remedy:

Here the remedy is obvious: switch

on!

Check voltage on built-in meter.
Check

that

batteries are

correctly

located

in

their

box and the right way round.

Check

that

battery poles are not dirty.

Clean and polish with a coarse cloth.

If

"R"

is visible in the indicating window,

the

"R"

button

and

the shutter release

must be pressed, to complete the dissolve

cycle

.

Set switch to red dot.

Remedy:

Check battery

voltage.

If

too low, replace

enti

re

set of batterie

s.

Remedy:

Only turn on the main switch when about
to use the came

ra.

Use

only

factory-fresh batteries .

24

25

Batteries of the wrong type were inserted

Four

or

five Super-8 cassettes have
been exposed in quick success-ion. This
will

cause quite severe voltage drop.

The batteries are not exhausted, but

need a period of recovery time.
Filming has taken'

place at very low

tem peratu res.

Aperture indicator

is

not working

Possible cause:

Main switch

not

turned on

Exposure meter

cells (PX 625) are

exhausted .

Meter

cells

incorrectly

inserted

Oxidation at meter

cells

Battery

compartment

lid is oxidized

Automatic exposure

control

is

turned

off

Good results will be obtained if
alkali-mang-anese batteries are used.

Give the batteries

an

opportunity

to

recover with the camera turned off

temporarily.

Batteries

do

not

del'iver

their

full

output
when very cold. Obtain a spare battery
box

and keep warm

at

body temperature.

Remedy:

Switch on.
Check voltage, and renew

cells

if

necessary.

Note symbols marked on batteries and on
cells.

Remove and examine cells.

If

there are
crystalline deposits on the insul:ating
sleeve,

or

if the cells are distorted

or

misshapen, renew.

Remove closing

screw

for

battery

compartment, examine

for

corrosion and

deposits,

clean if necessary.

Exposu re

control

knob is not set to

«autom.>o.

Films are underexposed

Possible cause:

Incorrect

meter cells (too high voltage)
inserted.
Check

voltage. Pointer should move

over to beyond the

«8,)

mark

on the

scale und

er

the

viewfinder

image.

Scenes were shot against the

light.

Underexposure, and also a totally
overexposed frame

at

the beginning

and/or

the end of the scene, with
corona-pattern rings on the two
adjacent

frames. Shots made with

extended

exposure

and at a normal

running speed.
Available

light

was inadequate

for

switching to

54

frames per second

filming speed

Films are overexposed

Possible cause:

Meter

cells are exhausted

Too high

contrast

in

subjects

filmed

Remedy:

Use

only silver

PX

625

cells with green

insulating ring.

Use the

«+

1»

button.

Check camera settings

carefully before

filming. Use the «extended exposure»

position

of

the variable shutter

only

in

conjunction

with the automatic single

frame device (filming speed switch 2).

Note

exposure control telltale in viewfinder.

Remember

that

this filming speed causes

the camera

lens aperture to open up by

1'h

stops.

Remedy:

Check

voltage, install new cells if

necessary.
Next time:

control

exposure manually

at

the lens aperture.

26

27

During filming, the left hand was used
to support the camera by resting ' on
the top of the body at the front. The
ball of the

thumb may have pressed

the meter battery test button

in

slightly

and interrupte'd the current

circuit

to

the exposure

control· system. In this
case the lens will open up to full
aperture.

Camera

runs continuously

Possible cause:

Continuous run switch next to shutter
release has been locked

in

the
position needed for the automatic
sing

Ie

-frame device.

Drive batteries are too weak

Pictures are not sharp, out of focus

Possible cause:

Eyepiece adjustment not

in

accordance with cameraman's eyesight

Before filming, the distance was

not
examined and focused at maximum
lens focal length

Check your method of holding' the camera
and modify

grip

if

necessary.

Remedy:

Return switch to normal position.

Check voltage.

Remedy:

Correct by reference to the section on
eyepiece adjustment

in

this manual.

Use the tele position of the zoom lens

for
all focusing. This is particularly important
in

tracking shots, where camera-to-subject

distance

may vary.

Automatic power zoom mechanism
out of action

Possible cause:

Batteries too weak
On

Nizo

801

only: adjusting ring at

rear

of

zoom lens is set to

O.

thus
disconnecting the power zoom
drive mechanism.

Remedy:

Check voltage.
Set to power zoom by turning ring to

red dot.

28

Braun Film and Photo Equipment

"!

: \

..

..

~

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Ni

zo

801 -engl.

- 7131 872 - 4. 5874