Ultra-16 Viewfinder for 15mm Lens on Bolex

The 15mm lens gives a very pleasant look in the Ultra-16 format.  However  my modified Bolex Octameter Viewfinder I was telling you about last time, only zooms out to 25mm.  So the thought came… why not use that neat little Phago viewfinder that I’ve been using on the GIC camera.  It’s vertical field-of-view is correct for about 15mm on regular-16,  but horizontally it goes out wider,  as it’s  meant for a still camera ratio of 1.5 to 1.  So I reckoned if I added a mask for 1.85 :1  this would be right for U16.  I used a plastic Canon EOS eyecup frame  (lots about !) modified so it slips over the front lens of the Phago finder.  The frame has been filed out to 1.85:1 ratio.  It’s secured by a small bracket over a 2.5mm bolt fixed to the top of the finder. A nut can be added but isn’t that necessary;  I want it reasonably quick to detach for use on the GIC camera which is Regular-16.

Now,  how to attach the viewfinder to the Bolex ?   Luckily I had an old Octameter chassis, and I made use of the panel that fixes to the camera door.  Removed most of the rest.  Then I found an accessory shoe on an old flash bracket,  sawed it off,  and with a small chunk of aluminium it’s  all bolted to the Octameter panel. The Phago’s GIC  bracket slots into the accessory shoe.  No parallax adjustment provided but at least it’s  simple to attach and use.  And the Phago is incredibly bright and clear,  better I have to say than the Bolex Octameter finder.

Ultra-16 Viewfinder for Bolex H16M… Super-16 similar ?

Maybe you remember I converted my Bolex H16M camera to Ultra-16.  Well, for a long time I’ve been using the normal Octameter side viewfinder and frankly guessing the U16 frame !  So it’s about time I pulled up my socks and finish the modification. I really just need to know the correct frame for a 25mm and a 50mm lens and maybe a 75mm too.  My Octameter does have the adaptor for 10mm, but I decided that it wouldn’t  work well with this U16 mod, so I removed it.

Here goes…  I removed the 4 screws that hold the viewfinder together. Two of them are long.  Also removed the two screws holding the parallax knob and withdrew it along with the circular scale.  Once prised apart  you’ll see a carriage with one fixed lens and another concave lens in front that moves along,  controlled by a rack and gear wheel.  The wheel is marked with the various focal lengths and at each position there’s  a click-stop formed by a ball-bearing dropping into a small hole.  Bolex engineering !

With the focal length set at 150mm it’s easy to unscrew the 4 screws that hold the front frame.  It’s prised off carefully without losing the two tiny leaf springs ! I then filed out the frame to 29mm and painted it matte black before reassembling.

Back to the carriage.  Now, it’s  relatively easy to adjust the finder to get a wider image than the normal 25mm frame, by moving the front concave lens forward.   But then it won’t have the desired click-stop.  So to get this it’s necessary to do some work on the carriage. Unscrew the rear fixed lens, also the 3 screws and one nut holding the carriage to the chassis.  Now the carriage can be easily removed.  It needs to be brought forward by a few mm.  So the two slotted holes at the front are filed out further, and about 3mm is sawn off.  When replaced, the rear screw and nut still hold the carriage,  but only just.  The carriage is pushed forward to maximum.   Also the front (moving) concave lensmount needs to be removed and the two slots made longer rearwards by about 2mm. Screw it back firmly.

Before I put the carriage  back,  the toothed wheel with the focal length numbers had to be set properly.  This is easily done when the carriage is loose but the ball bearing has clicked on… simply adjust the cogs until the 25 comes into the window on top.  Then screw back the carriage on to the chassis.  Photo shows the correct position for a 25mm lens.  The 35, 50, 75 and 100mm positions also click properly.  But 16 and 150mm do not work on my set-up.

Now I checked to see if everything was OK when attached to the camera.  I used a Bolex Gate Focuser to first examine the image, though tracing paper works fine as well.  The shutter obviously has to be opened using a backwind key.  For now I was just concentrating on the horizontal field of view,  making sure the two images were equal.  Bear in mind though the camera gate usually takes in slightly more than a viewfinder,  as projector gates are smaller.  I tripod-mounted the camera and observed distant objects. So there was no need to attach the viewfinder.  The gate image is obviously upside down etc.

When satisfied all OK I reassembled the viewfinder casing with the 4 screws, making sure that the parallax rod connects and turns properly.  Replaced the parallax scale and knob.  When attached to the door,  and parallax adjustment closed, the mark should show infinity.

Now time to do the top and bottom masking.  I used two thin strips of aluminium: they go into the slot on the front of viewfinder. First I blackened their visible rear parts.  The aspect ratio of Ultra-16 is 1.85:1.  My H16M gate is wider than that, but I wanted the correct ratio so that the finder could be used on different cameras.  As the front frame width is 29mm its height needs to be 15.7mm.  Camera on tripod again,  I aimed it at a horizontal line on the wall,  using the gate focuser accessory.  When the line was exactly central I withdrew the focuser and attached the door/viewfinder and again compared the image.  Then inserted the two masks and carefully adjusted them until they were 15.7mm apart,  whilst observing the horizontal line midway between. I marked the positions with a scriber,  then eased them out slightly and applied Araldite.  Pushed them back into position.  Later finished with matte black paint.

So now I feel much more confident using this Bolex H16M camera for Ultra-16.  It’s worth mentioning a Super-16 mod might be broadly (excuse the pun !) similar.   Now I can be sure about the framing for three of my prime lenses.  But not 15mm. For this I have another idea…. check back in a week or two !


GIC 16mm camera… long search for a short lens

Know the feeling ?  You parted with some lens a while ago that you now wish you’d kept !   Well, this is happening to me.  Try as I might, I can’t find a suitable wideangle lens for the little GIC camera.

I’ve got an early 10mm Switar, but it’s the RX version.  I’d run into focus problems, unwelcome with any non-reflex camera obviously.  I’ve got an array of short TV-type lenses by Sony and Cosmicar, but they all have some protusion at the rear so won’t screw on properly.  The GIC body has no room behind the lens mount, unlike say a Bolex H16M.  I found one lens that would work,  the Angenieux 15mm.  This is a nice lens and has been used many times on my Bolex cameras.  But just look how big it is !  Well, big in comparison with the camera.  I’m trying to keep the GIC as compact as possible.  Worse than the size:  it’s  quite a heavy lens.  The threaded mount for the lens isn’t  very robust and has just two screws holding it.   So I’m not very keen on using the Angenieux.  Also there’s a Century 3.5mm,  but 3.5mm… are you joking !  Maybe if you were doing some Ultra Pan-8 conversion as Dom Jaeger was thinking here http://www.cinematography.com/index.php?showtopic=74123&hl=

In anticipation of finding a small wideangle lens, I’ve just made a bracket for another viewfinder.  This fits on to the camera door via an accessory shoe.  Yes I know, it’s making the camera bigger, but at least I can quickly take off the finder anytime.  At this position there’s no vertical parallax.  The viewfinder itself,  a Phago,  is very clear and bright and gives a large image.  The max field of view about 10mm.  And it just about clears the front of the camera lens.  I’ve also fitted a Canon EOS dioptre for my eyesight,  and found a suitable rubber eyecup.   One of the perks of having a shop is finding bits and pieces all the time.   But why did I sell that lens !   When I find a small wideangle lens I might reduce the bracket a little.  However, it actually helps to steady the camera when hand-holding.

And here are the other mods:  the eyecup and dioptre for the normal viewfinder,  and the new window for the counter.  I’ve yet to fog-test this.  The marks on the chrome are just bits of sticky tape I haven’t yet cleaned off, when glueing the eyecup etc.

16mm Exploits with the G.I.C. camera

16mm movie cameras are generally much larger and heavier than 8mm ones, with the advantage of having 3 or 4 times the image quality.  Is it possible to get 16mm quality without the disadvantages ?

For a while I’ve had a little French-made G.I.C. in my cupboard and it takes 50ft spools of 16mm film.  I briefly tried it out a few years ago and it appeared to work OK.   It accepts c-mount lenses so very versatile in that respect.  However, it only runs at a speed of 16 fps.  Could it be modified to run faster, so that serious shooting could be achieved ?  24 fps would be great.  So I contacted Simon Wyss in Switzerland and he agreed to have a go !  At the same time he would carry out a thorough service of this 60-year old camera.

I must say I was not expecting too much from this experiment.  I had already looked inside another G.I.C. camera to see if I could do it myself, but decided the answer was No.  Moreover, when camera mechanisms are small in size, the tasks of doing modifications get harder. I had also wondered about Ultra-16 and realised this is impossible with this camera.  Super-16 is possible.  But I am not interested in doing anything to the 4×3 gate. All I want is a simple regular-16 camera that can go with me everywhere, so I can capture images at a moment’s notice.  I was also aware that this camera is not really built to professional standards.  It is rather similar to the G.I.C. regular-8mm camera.

One cold wet day in February the parcel arrived.  Simon had fitted new parts to the speed governor and also done a lot of other work such as machining the lens-port that apparently had suffered some damage in the past.  He’d had considerable difficulty getting the speed up.  Finally we settled for a speed slightly under 24.  A bit of a compromise maybe but better than the camera exploding !  Straightaway I loaded some 16mm blank film to see how it was handled.  Simon had warned me it could be noisy but I didn’t find it so.   It was some time before I loaded some real film to test the camera.  Because it was Ektachrome 100D I sent it to Kevin at http://gaugefilm.co.uk  who specialise in developing smaller rolls of film.  He did it at a very reasonable rate.  The small gaugefilm team does the work entirely by hand on a monthly kind of basis,  so you have to get your film to Dudley UK by a certain deadline.  It’s worth it though as the processing standard is excellent.  A few days ago the film landed on my doormat !

Well it wasn’t much footage (I had put this film roll into another camera as well) but from the tests I can see how the ‘New’ G.I.C. performs.  The main test was for registration with the camera firmly clamped to the top of my heavy Steenbeck and aimed at a target of printed text.  I had exposed two passes, the second one aimed slightly to one side.  I projected the result quite big…   Results:  Horizontal steadiness good, although not as good as say a Bolex or Bell & Howell.   Vertical steadiness Excellent, in fact I would say rock steady.   I think this happy result may be assisted by the small half-registration pin, fixed just above the gate-channel in the camera.  The gate itself is quite simply designed with a small back pressure plate.  The next test was for focus and exposure.  I had fitted a Taylor Hobson Comat 1 inch standard lens  and at f1.9  full aperture the focus was perfect.  This is a fine lens in my opinion.  Exposure also was spot-on, one reason I had tested it with colour reversal,  far less forgiving than other types of film.   And the image itself is nice and stable without density fluctuation.

So what are my feelings sofar ?   I think it has exceeded my expectations in terms of the image quality.  I can see myself using it for both colour and black and white work.  It somehow feels like handling an old 8mm camera yet getting far superior images.  I was a little bit disappointed that the target speed of 24fps couldn’t be achieved.  Timing a piece of blank film I found the speed is about 23fps for at least the first 10seconds of the run.  I’m hoping that people walking and so on will look OK at this speed.  I guess it should be alright when you consider that many films are taken at 24 and shown at 25 and viceversa.    What of the G.I.C. camera itself ?  The model I have, an early one,  is rather fiddly to thread because the sprocket has fixed retaining flaps, and the gate loops have to be exact.  I plan therefore to use a light-proof container to house the ‘daylight’ spool of film, until the threading has been carried out.   The viewfinder is small as with many cameras of that era.  And it doesn’t suit my eyes when wearing glasses. But I just found a Canon EOS 1+dioptre lens that I’ll be fixing on to it.   The footage counter is impossible to read !  For some reason there’s a dark green window over it.  So I’ve removed that and fitted a normal window. Is the green meant to keep out light, can’t see how/why….anyway for now I’ve stuck some black tape over.   These criticisms aside, I think it’s a great little camera, full of promise.  I’m now looking for a wideangle lens, something as small as possible, but I guess I’ll need to add another finder for that.   I’ll let you know how I get on…


Converting a Bolex H16M to Ultra-16, part 2

Last time we tackled the gate widening.  Now for the sprockets.  Because the film touches areas beside the sprocket teeth,  it’s necessary to remove any metal that might cause wear of the image.  Normally this wouldn’t perhaps happen but its better to be safe than sorry.  Removal of the two sprocket wheels is simple with a screwdriver.  Firstly though, ink a mark on the wheel next to a convenient point on the camera. Note there is an angled slot at the edge of each wheel that when lined up will clear the loop-former,  so turn the camera with the backwind key to get it in the right position.  Once removed, carefully grip each sprocket wheel in a vice.  In the photo you can see how much I filed off at each tooth.  It’s brass so quite easy.  Leave some metal at the base of each tooth and don’t damage the tooth itself. Finish off with fine emery wrapped around the needle-file.  Take your time !  Now turn your attention to the other side.  There are two ridges that normally support the film. Important:  don’t  touch the outer one.  The inner ridge needs to be removed.  This can be done with a lathe, or it’s not a long job to simply file it off.  As long as it doesn’t  touch your precious image there’s no problem.  So now you have sprockets that won’t harm the Ultra-16 image in any way.

Replace the sprockets,  ensuring that they are lined up accurately within their guides.  And also line up the ink marks as before.  Don’t tighten the screws properly yet.  Place some film in the threading path through the gate so that the claw engages it,  and close the loop-formers.  If necessary,  turn the sprockets slightly so that the film hugs the top and bottom loop-former.  By trial and error you’ll find the correct position for the sprockets,  and now fully tighten their grub-screws.  With loop-formers still closed, check the movement by winding the film by hand,  and finally by running the camera normally. Also check that the auto-threading feature works OK.  Now release the loop-formers and run the film at fast speeds to see that all is well.  Pristine unused film is best so that you can determine whether or not any damage occurs.  If it does,  it’s a simple matter to find the cause,  ink-marking the stationary film at various places along its path before you withdraw it from the camera.  An old projector lens is ideal as a magnifier.  Examine each perforation and its environs very carefully.

Next time we’ll look at the viewfinder mod.  Currently I’m  still tackling this !

to be continued…..

Converting a Bolex H16M to Ultra-16, part 1

For some years now I’ve owned a little-used Bolex H16M camera, and had a yearning to modify it to Ultra-16.  Whenever I attempt something like this,  I first satisfy myself that the camera’s  registration is rock-steady. See  https://filmisfine.com/blog/how-steady-is-your-movie-camera/

Having no turret like most Bolex’s,  it’s quite easy to get started on the job.  It goes something like this….

Remove the leather and nameplate to expose the lens mounting plate.   Put the camera out of springwound mode and ready for backwinding.  Use the backwind key to take the shutter away from the gate area.   Remove the 4 big outer screws and gently ease off the lensmount.  Unlike the more complicated Bolex models, there’s no problem upsetting the timing.

Inside the camera remove the back pressure pad.   Unscrew the gate mounting-plate,  but as a guide for replacement its a good idea I think to firstly mark around the edges with a scriber.  Now remove the 4 small screws that hold the gate, and slide it out gently from between the side leaf springs.  It goes without saying that the gate must not be scratched at all.  Don’t  remove the top and bottom bolts.

The gate needs to be enlarged sideways to bring it out to 1.85:1  ratio.  The area between the perfs (by the frame-line) that is seen in Regular-16,  won’t be visible.  Although of course the image carries on being formed in this area,  so it is possible to use the camera normally as well.  1.85:1  is the same ratio as 35mm widescreen, if you are thinking of blowing up to 35.  With my modification I decided to go wider than 1.85:1,  something approaching  2.2:1.  However, I knew I would run into problems with the latent edge markings appearing within the image area,  unless I could find film-stock without these markings.   1.85:1  though has no such problem.  I was also a little concerned that the wide gate might not support the film sufficiently and cause unsteadiness or lack of flatness.  But happily this hasn’t happened.  The final width is 13.3mm,  leaving only 2.7mm to support the film.

Now for the widening !  I used a chunk of wood that I’d  used on another U.16 job,  attaching the gate firmly with drawing pins cushioned with cardboard.   Over the top I mounted a magnifying glass,  and started filing away with a needle-file.   Lots of breaks is a good idea with this kind of intricate work.  You don’t want to jab the gate by mistake.  Later on I changed position and filed from below, see photo.  I also paid particular attention to the top and bottom edges to make a smooth bevel,  and rounded off the corner bits where the film would touch.  Afterthought:  it may have been safer to completely cover the gate moreorless with card, as surgeons paper over patients !  Finally, I  wrapped fine emery cloth around the file and worked with this.  Then to finish off, the finest emery grade.

I now placed the enlarged gate into the mounting-plate again and loosely put it in position.  Obviously it was also necessary to remove some metal from the front plate,  so I first scribed marks either side and then filed away.  This is quite hard steel.  After finishing with emery I cleaned everything thoroughly,  then painted all the filed parts including the gate edges,  matt black.  When satisfied all was OK,  I reassembled the gate into the camera,  in precisely the same position and making sure that none of the 4 screws protruded.   With the camera laying on its back,  I then eased the lens plate back into position,  making sure the claw was out of the way,  and then turned the backwind key.  All looked fine and so I replaced the 4 big screws,  tightening them diagonally. Then stuck on the leather.

Next I loaded some dummy film and ran the camera.  The movement looked fine to the eye.  How it really performed would be tested later.  When the gate was taken off black paint came off also,  so I touched up all this again so that the important light seal would remain.  This is how the gate and front plate looks now, with some film loaded.                                       to be continued….

My first try with the RD motor on Bolex

The Bolex’s  footage counter showed 90.  I dearly wanted to get the film out for processing.   Seven or so feet to go.  I hate wasting film.   Like many independent film-makers I have a shot-list as long as my arm,  and I hastily ran through it.  For such times I generally choose to do very easy shots,  but I thought I could perhaps try a slightly harder one today.  It was a shot of a tile falling off a roof on a stormy day.  I had initially  thought of doing it for ‘real’  (though that wouldn’t work today… sunny July 1st !)    No,  it would be easier anyway to do it as a miniature.   So I set up a miniature card tile with blutak on a circular pane of glass (about £8 at my local glass merchant).    It revolves by hand in a wooden grooved stand I’d  rigged up.   The background is a slide composite projected on to white card.   With the “tile”  lit obliquely by another slide projector,  I quickly realised that the slowest speed on my Bolex wasn’t going to give a small enough f-stop on the lens to put both planes in reasonable focus.  I was getting f2 but I really needed something like f4 on the 26mm Switar.  DSC09978

Then I remembered an add-on  RD  MF-14  motor that had yet to be put into use.   This unit goes at 4 fps giving more light.  So this was bolted on the camera and switched on. Now as the motor hummed into action I rather slowly turned the glass panel.   I found this quite difficult, trying to be smooth, but maybe a slight jerkiness could look more realistic.  We shall see !  I managed a few takes.   If successful I plan to add some superimposed rain later.

That was about 4 o’clock this afternoon.  I got the film out and cycled down to the post office.  Now awaiting  Andec’s  email.  Then the postman… These bits of excitement you miss with digital !

By the way, I got this idea of the circular glass from the gravity-free pen shot in  “2001″.   Wonder how Kubrick attached the pen to the glass prior to the air hostess retrieving it ?


Henry L. Buckingham, Widescreen Pioneer

You may remember my post  “Who Invented Super-16 ?”  in which I described Ian Smith’s  16mm widescreen VariScope system:   http://filmisfine.co/who-invented-super-16/             Well, I recently got a comment from Steve Buckingham in Australia,  saying that he thought his late father had invented Variscope.   And way back in the early 1950s !  I was naturally incredulous about this. However, read on.

Henry Laurie Buckingham only died last December.  He was 92.   Steve has begun going through his dad’s film gear, and  he kindly sent me a video giving a taste of what he had achieved.  It shows an impressive array of projection apparatus and sound recorders.  As for Variscope,  Steve believes that the American Cinematographer magazine, no less,  published an article about Henry’s  system. It probably dates from the 1950s because…. click here  Variscope   (it may take some time to load up) and you will see an actual film clip taken in 1953/4.   That little chap sitting on Henry’s  knee is son Steve !

As you see,  the widescreen  image extends between the 16mm perforations just like Ian Smith’s  system.  Steve has written an account of  H.L.B’s  work  on this and other amazing projects….    Here are some quotes:

Dad was an engineer who ran his own small business L.B. Products in Mordialloc, but spent a lifetime making equipment and gadgets for his passion, cinematography, mainly 16mm.

As a child he was fascinated by film, and his earliest experimentation was to try to make a simple projector in his bedroom. He had obtained a length of film (nitrate in those days), a candle and, I’m not sure, possibly a lens. Without an understanding of the requirement for intermittent movement, simply passing the film in front of a light source produced no results of course. He did learn one thing however viz. nitrate and open flames don’t mix;  in no time there was a mini bedroom fire, but fortunately no substantial damage!

About twenty years ago, before the modern cinema digital era made 3D commonplace and a bit of a yawn, dad built his own Variscope  16mm 3D rig comprising twin Bolex cameras and twin polarised Eiki projectors, all converted by himself. All this equipment is still in tact at his theatrette but in later years he adopted miniDV because the 16mm system was not only very cumbersome to shoot, edit and handle, but when Kodak eventually stopped processing here in Australia the film had to be sent to the US, involving weeks turnaround.

Long before the steadicam era, dad designed and built a gyroscopic stabiliser unit for his Bolex camera. It weighed about 1kg with a battery pack worn separately. It gave very good results, I would guess similar to steadicam, although I ‘ve never tried the latter. The (one and only) Mk 1 would not have been suitable for sound work however as it produced a low-level whine from the gyros.

In the carbon-arc era before Xenons and other compact discharge lamps, he designed and built a mirrorless compact 8 x 6 x 4 inch 65amp, self-feeding, self-striking lamphouse for his 16mm projector. It used 5 and 7mm copper clad carbons and employed an innovative rotating feed system for the positive carbon. (H.L.B. tried to get it commercially manufactured, was unsuccessful, but it’s possible his invention may have been copied later,  Steve thinks.   Doug)

He spent years developing a superb, compact, lightweight, self-blimped 35mm Techniscope-format camera, initially for his own use but later made cursory attempts to see if anyone would want to make it under licence. After his experience with the lamphouse people dad was very secretive with this camera. I accompanied him to Sydney to have the camera evaluated by an industry expert so as to support any negotiations with prospective licencees. The report was generally excellent; the only negative I recall was that the film transport design would not accommodate reverse film direction, something I don’t think dad had ever considered in design, but a feature sometimes used for dissolves and other effects. In conjunction with the Techniscope project he made a 35mm B&W developer/processor (mainly I think for processing the miles of film he shot in developing the camera), an optical reduction printer (35mm Techniscope to 16mm anamorphic) for his own editing purposes and also a 16mm contact printer, with correction, for his own use .

In his account,  Steve tells more about H.L.B’s  achievements and experiments, such as the tape deck that had a blob of mercury for reading special holes in the tape !  25 times a second. Ask if you’d like to see whole account.

Thanks, Steve for letting us know about your amazing father.  And hope you find that elusive ‘AC’ article soon.  Can anyone help please on this ?   Whatever any of us folks think….   ‘The truth is out there !’

This entry was posted in Miscellany, Photo Movie Notes and tagged 16mm, anamorphic, Techniscope, variscope, widescreen. Bookmark the permalink.

A new Super-8 camera for 2014 !

Believe it or not,  an entirely new Super-8 film camera could be only months away.   It’s called the  Logmar,  and is to be manufactured by Danish enthusiasts  Lasse Roedtnes and his father Tommy.

Not only is this the first totally new super-8 camera for over 30 years,  the Logmar  offers an entirely professional way of making movies.    Its designers have done away with the film cassette’s  pressure pad and provided a separate precision pad and gate.   This is achieved by a simple manual threading procedure.  In addition,  there is to be pin-registration which means absolute rock steadiness,  something  never before  seen in super-8.  This feature,  combined with the new gate,  should mean enhanced definition.   So we are on the threshold of an entirely new super-8 appearance it seems.    Another improvement is the size of the gate,  wider than the traditional one,  giving ‘Max-8′ dimensions.

The camera will accept c-mount lenses,  so in effect many 16mm lenses can be used as well as still lenses via an adaptor.   They will all cover the widened Max-8 film frame.

The viewfinder design is very different from a normal super-8 film camera.  The image, which is captured via an oscillating mirror, is shown on a monitor… the same sort of thing you’d find on a digital camcorder.  And as far as I understand,  digital images can be recorded alongside the super-8 footage,  as well as high quality SOUND.   Please note that I have copied these pictures  from Lasse’s information that he has kindly provided on


and he does stress that they are of the prototype.  The actual camera could look slightly different when launched hopefully in April 2014.   He is also keen to hear other film enthusiasts’  views on their design.  Join the cinematography.com forum !

As for the price… well it looks like about  2000 euros excluding VAT.    Remember,  the Logmar  will be a serious piece of kit,  probably superior to the Beaulieu cameras that cost more than that in real terms many years ago.   It certainly is an ingenious concept,  combining professional motion picture design with digital technology.     I for one,  think it could be a winner ?