BOLEX REFLEX LIGHTMETER PROBLEMS

1) The needle itself is 'stuck' to one side. This is typical after 50+ years of dirt and grime. The needle can 'stick" to the plastic stop(s) on either side the galvanometer. 

Next time it happens, try rotating the ASA dial all the way in one direction and then the other, and finally back to your normal ASA setting. If the needle was stuck, this will usually dislodge it.

The permanent cure is to remove the eyepiece diopter, and very carefully, clean the sides of the needle with a small swab soaked in alcohol. If you can see a 'fuzzy edge' on either side of the needle, the needle needs cleaning.

2) The battery adapter is sometimes built from a stack of washers. The contact points between the washers corrode or otherwise don't make electrical contact. This causes an interruption in the battery circuit and the needle won't function. loosening and retightening the battery cover may fix the problem temporarily.

3) The 'U' shaped spring at the bottom of the battery well is permanently flattened. This can happen if the adapter length is too long. Sometimes the spring is broken in half at the bend point, and an adapter is/was made to take up the difference in length.

There will not be any tension from the spring so contact will depend on the battery cover being screw down tightly. If it is screwed down too tight, the spring holder (plug) itself will be pushed away from making a good ground connection and the circuit may be interrupted.

4) Corrosion on the connections inside the camera located on the backside of the plug is causing an intermittent open. There are (2) wires. One connected to the grounding ring and 1 is connected (soldered) to the rivet holding the spring to the plug. 

If there is sufficient corrosion, the wires can corrode and may have intermittent contact. The fix is to replace the wires and/or the plug.

5) There is corrosion on the ground ring that is in between the plug and the camera body. The corrosion is caused typically by a mercury battery being left in the camera for too long and subsequently leaking creating a greenish-whitish powder-like coating. 

This corrosion can be 1) on the threads of the cap and body or, 2) on or near the spring in the battery well. Sometime the corrosion is superficial and while present, sometimes doesn't cause any problems. 

If corrosion is present, the battery contacts and related parts should be cleaned thoroughly. You can swab the battery well with plain vinegar, which is 5% acetic acid, and the acid will dissolve the corrosion. Swap again with alcohol several times to remove any trace of the acid. Let all air dry.

When installing a new spacer kit and replacement Zinc Air Cell, be sure the spring in the battery well is in good operating order. If it is bent flat or damaged, it should be replace. 

The kit sold by BolexRepair.com is designed to be a direct replacement for the original mercury cell, and it depends on the spring being in good operating order. 

REFLEX ASA DIAL CALIBRATION

To check the ASA dial calibration:

 
To check for proper calibration of the Bolex reflex series ASA dial:

1) Open ASA dial lock

2) Turn the lock tab full counterclockwise (CCW)

3) The red colored 18 FPS mark should be opposite (between) the letters S&A of the ASA marking.

4) Turn the ASA control full clockwise (CW)

5) The red 18 should be opposite the first A of ASA
If the above settings don't match, the outer dial may have moved relating to its correct position or the galvanometer's internal gears may have moved relative to each other. Here's how to check:
1) Orient the camera so you are sighting from the lens towards the ASA dial.

2) If you tilt the camera whilst looking at the dial, you can see slightly under the top of the dial.

3) In a direct line with the center of the battery cap and the center of the ASA dial, you will see a series of 'cogs'.

4) Almost, but not quite directly on center, you will see a pin between two cogs.

5) Note where the pin is and look on the top of the dial.

6) The pin should be aligned between the 20 and 25 ASA settings.

The outer ring is glued down. The inner ring is attached to the galvanometer's shaft. The shaft end opposite the dial has a small gear that turns another gear at a right angle. Sometimes if the glued outer dial's bond is broken, the outer dial's cogs can 'jump' the pin. If it only jumps 1 pin, one way or the other, you can compensate.

Example: If pin has jumped one cog to the right, it will now shows the pin split between the 16 and 20 ASA markings. It is now reading and calculating the ASA incorrectly and the true ASA will now be somewhat higher than that read off the dial. Not a problem as the difference is only 4 ASA.

However, when you rotate the dial to ASA 100, the same offset of the pin jumping 1 position is now off by 25 ASA. You can make a mental note of how far the offset is allow for it. Typically, you will be using the same film and once the offset is set, you can just place  the ASA vs. FPS markings normally and the meter will read correct.

If the meter is off by more than a couple of cogs, or the ASA dial seems to jump around, the meter should to be overhauled and recalibrated. This involves removing the ASA dial. The center screw of the dial is cemented in place. On about half of the cameras I recalibrate, the dial screw snaps. Not sure why - rust perhaps. On the other half of the cameras, the screw comes out normally. 

If the screw breaks, the corresponding shaft of the meter assembly needs to be replaced. That in turn requires a complete camera disassembly down to the internal meter and the reassembly and recalibration of the meter and dial assemblies. This is one of those repairs that only the experienced can do. 

CLEANING THE BOLEX REFLEX LIGHTMETER NEEDLE

This is a common problem for the reflex series. The needle itself  can 'stick' to one side. This is typical after 50+ years of dirt and grime. If the camera is used in a smoking environment, cigarette tar can also contribute to the problem. The needle actually 'sticks' to the plastic stop(s) on either side the galvanometer.

Next time it happens, try rotating the ASA dial all the way in one direction and then the other, and finally back to your normal ASA setting. If the needle was stuck, this will usually dislodge it. The permanent cure is to remove the eyepiece diopter, and very carefully, clean the sides of the needle with a small swab soaked in alcohol. If you can see a 'fuzzy edge' on either side of the needle, through the diopter, the needle absolutely needs cleaning.

If rotating the dial may temporarily "cures" the problem. The permanent fix is to clean the sides of the needle. You can do this. Here's how:

CLEANING THE BOLEX REFLEX LIGHTMETER NEEDLE

1) You need: denatured alcohol or vodka. Very small amount - an ounce or so,  just enough to wet a small cotton swap, like a Q-tip (http://www.qtips.com/).

2) Unscrew the diopter. It turns counterclockwise. It's on tight but you can usually remove it by hand. Once its loose, be sure not to loose the extremely thin adjustment rings. There may be as few a one or as many as 3 rings. They are black and almost invisible. Very easy to loose. The rings are used to make the initial adjustment matching the diopter to a 'relay lens' inside the body. Put these pieces to the side.

3) Rotate the dial to the smallest ASA setting by turning it counterclockwise as far as it will go. This will place the needle all the way to the left side.

4) Using a Q-tip (http://www.qtips.com/) or any other small swab, soak it with the alcohol or vodka, and very carefully, clean (see next) the side of the needle thru the diopter's threaded opening.

5) Carefully touch the top of the needle and brush from the top of the needle downward to the bottom with a very light pressure. Do not brush in / out! Do not brush upwards! The Q-tip can snag on the needle if going upward or bend the needle if it goes in / out. Repeat several times.

6) With the one side finished, remove the swab, rotate the ASA dial fully clockwise. This will move the needle to the right. Soak the unused side of the Q-tip or swab, and again, brush the needle as above. Top to bottom as before. Repeat several times.

7) Reinstall the diopter - don't forget the rings.

If this is successful, the needle will no longer stick to the meter stops at the sides. If it still sticks, the meter stops will, most likely, also need to be cleaned. Trained personal can usually reach the meter stops from the side and clean them. If not, the meter (galvanometer) will need to be removed for cleaning.

8MM FILM EDITING TIPS

Letter to a new filmmaker after shooting his 1st roll...

Congratulations! You are now a filmmaker!

WHAT IS THE 20 SECONDS OF BLACK?

The 20 seconds of black is a leader (unused film) that is wound onto the reel before shooting. There will always be some 'lost' film as 'black' from winding onto the reels. This is typical. Some developers may add a white colored leader to the beginning of the finished film.

LEADER

This allows threading of the film through the projector from the supply reel to the take-up reel without using any 'good' film footage. In your case, the developer has glued both ends of the two pieces of double run film together after processing. 

FLATBED OR EDITOR

What you would do next is to edit the film on a "flatbed or editor" to remove the black areas of film and to edit for content and then add a white leader to the beginning. Leader material:

http://www.ebay.com/sch/i.html?_nkw=8mm+leader&_sacat=0&_odkw=kalart+editor&_osacat=0&_from=R40

The editor or flatbed looks like this:

http://www.ebay.com/sch/i.html?_trksid=p5197.m570.l1313&_nkw=8mm+editor&_sacat=0&_from=R40

SPLICING

Typically one would run the film up to the black portions and cut out the black to make an seamless edit from one section to the next. The editor usually has a device to hold the film so it can be cut with a single-edge razor blade. 

After cutting the two ends to be joined are roughened up a bit, overlapped one frame,  and then cemented together using film cement:

http://www.ebay.com/sch/i.html?_nkw=film+cement&_sacat=0&_odkw=8mm+editor&_osacat=0&_from=R40

HOW TO SPLICE

Here's a PDF on how its done. The PDF talks about Super 8, but all film is essentially done in the same fashion.

https://www.sctxca.org/suncity/clubs-groups/sites/computer/media-proj/MovieToDigital/CleaningandSplicing.pdf

The PDF also speaks of "Kodak Presstapes". These are double sided tape used in place of film to splice two pieces of film together. Cementing the two pieces is also common. Some people prefer splices; some prefer glue. I like glue, as I learned it that way. if you decide to do your own editing, practice first on some old footage. You can find exposed reels of film on eBay.

As the footage with be 3 minutes or less, you can mark the box the reel came in with the subject and date, etc. You may want to edit and the collect like footage for inclusion on a larger reel. 7" reels are common and fit most home 8mm projectors. 

You can find the reels on eBay. Make a printed sheet of title indicating which subjects are on that particular reel and tape it to or put it inside the reels box. You should also gives dates, times, places, etc.  20 years down the road you be glad you did :)

EXPOSURE

Re: Exposure.  I recommend keeping a log of f-stops settings were used. And then afterwards, some notes saying what worked, and what didn't. Too light? Too dark, etc. You'll get a feel for how the film works and what adjustment to make when shooting.

PROJECTOR BULB

Be sure the projector bulb is the correct size for the projector. Some people will use a smaller (or larger) bulb. Start with the correct wattage bulb for you projector. Since you'll be showing footage you shot (compensating the light with the cameras f-stop settings), both what you shoot and what you project are interactive.

Also note that some 8mm projectors have a light control. Sometimes its a 2 position switch and sometimes it's a knob. With it, you can increase the brightness of the projected footage. 

TRANSFER TO VIDEO

Finally, you can have the film transferred to video. Transfer houses can adjust light or dark footage during transfer. The adjustment will be small. Typically they cannot correct footage shot several stops too dark or light.

MISCELLANEOUS Q&A FOR LENSES AND LENS ANGLES

Q:

I have 6.5mm Elgeet and a wide adapter for 5.5mm. Can I use these together?

ANS:

Yes. The difference between the 2 lenses (5.5 and 6.5mm) is minimal. Wide angle lenses on 8mm Bolex camera are typically:  5.5mm, 6.5mm, 7mm, & 8mm. Normal angle is 12.5mm or 13mm and telephoto is approximately 36mm to 38mm also sometimes shown as 1 1/2". Normal lens angle is about 2x narrower that wide angle. Telephoto angle is about 2x narrower than normal. This is of course, a rough approximation. See a better explanation (more complicated - but with diagrams) here:

     http://en.wikipedia.org/wiki/Angle_of_view

CHOOSING A LENS

Distance to the subject and the field of view are to be considered when choosing a lens. Different angle lenses present different views or distortions or compressing of the view. One can first choose the angle - wide, normal, telephoto and then consider the distance. Sometimes the distance is the primary factor to be considered first.  There is some confusion when using zoom lenses where the picture appears to 'grow" as the camera lens is zoom from wide to telephoto.

The are actually several things happening with a zoom lens: 1) The lens angle narrows as the zoom moves from wide to telephoto, and 2) magnification of the image makes the picture appear larger. What is actually happening is that angle is being 'traded" for distance. 

Say you choose a wide angle prime lens for a group shot. You then adjust the camera distance until all the people fit in the viewfinder. You can get close to the subject which is usually best for lighting. Closer also will net a sharper, better picture.

Using a telephoto lens to do the same shot, you WILL have to back up until the group fits. The distance added will cause the light hitting the film (or sensor in a digital camera) to 'fall off. The lower light will usually require a lower relative f/stop than the wide angle F/8 instead of f/11.  There are other considerations. 

What the shot 'looks like' when done is a consideration. The feeling that it gives to the viewer. Lots of stuff. And a lot of it is subjective - your choice (camera operator).  A wide angle, extreme close-up shot of a face will make the face look distorted. A long lens on the same face will need to move back and will 'flatten' facial features (portrait) . In motion pictures, long lenses seem to 'expand time' for moving shot. A car in the distance will appear to take longer to come into the camera's close proximity. Forever it takes to 'get to the camera'. Then all of a sudden, it whips by.

Zoom have their place where you have enough light to be able to trade distance for light. In better cameras, you don't even need to be close to get that picture. Zoom to it. Prime lens' require more camera movement to get to the right position for filming. Sometimes, only the zoom will work. Choices made determine the effect of the lens on the film. 

Q:

I know there is fixed focus Pizar lenses for Bolex which should do the job, but how sharp are they when you use them up close, but within the depth of field?  Do they have that telltale "not critically sharp" look?

ANS:

The fixed focus Pizar are sharp enough at any distance for 8mm film,  but are not designed for extreme close up shooting. The depth of field is infinite on the far end and limited to some fixed distance up close. On a Switar f/1.5. It focuses from about 16" (close) to infinity at f/22 (beyond 60 feet or so). With everything sharp. 

A problem is with the extremely small iris openings such as f/22, any lenses can suffer from diffraction. Diffraction can be seen as unwanted light spots. One type of spot in the lens flare. Diffraction and flare can be controlled with lens shade (hoods) and/or lens coating, or sometimes by just changing the camera angle. At extremely small openings, and depending on the lens used, the fix is to open the iris (small f stop) and uses a neutral density (ND) filter to control the light.

The limiting factor of sharpness with 8mm or any film, is the film grain versus the width of the film. 8mm film stock is cut from 16mm, which is in turn cut from standard 35mm stock. With 3 cameras shooting the same film stock and at the same time, on the same subject, with the same light,  and adjusted for lens differences, the 35mm would have the best perceived resolution and the 8mm the worst resolution. It's the film grain that make the quality suffer as the film image gets smaller.

Look at any 8mm footage. Grainy. Look at the 35mm footage of the same subject. Much nicer. Remember, also that you are generally much closer to projected 8mm footage than 35mm footage. 8mm footage projected in a theater setting would be very bad. Coupled with the projected image, the 8mm will also lose some sharpness from the projection process. Remember, 8mm camera equipment was designed and sold for the "home market". The lost cost of 8mm equipment was achieved by cutting "corners".

Another limiting factor for lens sharpness is there is usually an f-stop area that has the best sharpness for that lens. And it usually NOT at the extreme ends of the lens. The lowest or highest f-stops. F/2.8 typically do best starting a f/4 going to f/8 or so. F22 on the same lens will always have less sharpness. All this varies with the manufacturer and the design, number of lens elements, technology, etc, of the lens. The more money you spend - then better the sharpness. Switars are better than Yvars for Bolex, but both work well with 8mm.

Some of the cost cutting involved with 8mm lenses was the use of lower quality glass, with imperfections in the glass that  tended to be ignored in the really cheap lenses. The imperfections generally didn't show in the final projection and so were tolerable. Projector lenses are even worse. I have a Keystone 8mm projector. You can remove and hold to the Keystone's projector lens to the light and see extremely small air bubbles in the glass! Doesn't affect the projected image at all. Fortunately, camera lenses are better made.

Bolex sold two basic series of lenses: Yvar (cheap), and Switar (more money = better made). The Switars generally had lower f stop ratings (pass more light). Example: f/1.9 Vs f/2.8. At that time, the 1940s to 1965 or so, film was 25 or 40 ASA. You need a fast lens for indoors? F/1.8 or f/1.9 was common. Kern-Paillard and even made a f/.9 lens. An F/1.0 lens would pass 100% of the light thru the lens. The f/.9 lenses are quite rare and typically sell today for about $500 or so on ebay. No loss of light. In fact, the .9 lens GAIN light like a magnifying glass.

Q:
I also know they have these lenses that allow reflex operation on a non-reflex camera. Do these work on the C8 or regular H8 or is the lens to film plane distance different or the lens mount not D-Mount? What is available that would work in place of my 5.5mm C8/H8 lens?

ANS:

Reflex lenses made for D-mount work well. What you get is an accurate view of what you are filming. The reflex mechanism sends the light of the picture via a mirror when the camera's shutter is close. Typical shutter angle is about 180 degrees, so half the time you are filming, you can see the image. The other half of the time, the image is 'hitting' the film. They sell on ebay for $25 and up. Sometimes you see them on a C8 or B8. I seen them on D8Ls, also. Som Berthiot made lenses to convert  non-reflex Bolex models to reflex operation. There were some made by the Japanese, also.

Here's a link to a Som Berthiot at bolexcollector.com:

     http://www.bolexcollector.com/lenses/60berthiot.html

Any reflex lens made for a D-Mount with work on the C8. The Pan Cinor 40R is probably the best lens for the C8. There is a focus diopter for getting sharp pictures for 'bad' eyes (like a binocular), and it uses a "split focus" system. You just turn the focus dial until the 2 split images match up. 

Q:

Was there ever made a 6.5mm viewfinder adapter for Bolexs?

ANS:

Yes, 6.5 Bolex diopters were made. Quite rare now. However, the 5.5 will work for any wide angle lens, since the diopter is just used to "correct' the view as seen by the operator. You just allow slightly less 'room' at the left/right edge of the view to compensate for the difference in the  2 diopter values. The diopters view angle of 5.5 will result in a slightly wider view of finished film when used on a on a 6.5 lens, and even more wide on 7, or 8mm lenses.

FRESH FILM - STORAGE - EDITING - MISC.

FRESH FILM

Fresh film is available from many sources. Try links here first:

http://www.bolexrepair.com/links.html

I recommend buying the film stock from a seller who also does the processing. There are several suppliers in the above links. You can typically get a discount when purchasing both together. Ask about transfer services if you plan to show the film on TV and not on a film projector. Ask about quantity prices. You should get discount buying multiple rolls.

STORE FILM

Store film where its cool and dry, or put in a sealed ZIPLOCK baggie and store in the refrigerator. Here's a link to what Kodak has to say about storage:

http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_newsletters_filmEss_12_Storage_and_Handling.pdf

PROJECTOR

If you need a projector, eBay is the place. Most projectors were used very little and then stored. Pretty much the same as cameras have been. The thing you need to look out for is 1) does the bulb work? If the projector needs a bulb, chances are its still available. $20-$25 is typical.  2) Does the projector have the power cord?

These seem to get lost. And its not an "off the shelf item". Anybody handy can usually adapt a power cord or rewire the camera. They are pretty basic. And  3) Does it work? Sometimes people just say, "Dunno if'n it works. If it doesn't? Well, send it back" :( 

Really, one can turn the thing on and if the reels turn and the bulb lights up, it probably works ok. Whenever I see "Dunno...", I always think about the D8L I bought way back when. The seller said, "It's museum quality". Worst camera I ever bought. Rust everywhere. Parts is was... :(

WHAT I HAVE

I have 2x  8mm projectors. A Bell & Howell 400 Model 122 (sold in the 1940s) and a Keystone. Both work fine and have pretty much the same controls. The B&H is the better of the two. The projecting lens on the B&H is very nice. The lens on the Keystone has some air bubbles in the glass. Doesn't seem to make a difference, though.

RULE #1

If you haven't used a projector before, remember this rule: ALWAYS start the film rolling before the light is switch switched on.

PROJECTOR FAIL SAFE

Some projectors have a "fail safe" system. A rotary switch runs the film feed when turned to the 1st position and then the lamp comes on when the switch is turned to the 2nd position. If not done in this fashion, the heat from the lamp and a few seconds of film not moving in the projectors gate will burn a hole in the film stock :(

PROJECTOR SHIPPING

Shipping will be high as the projectors usually are quite heavy. 10-20 pounds. You'll need take-up reels, also. A 7" reel is common. Ebay again. Try to get a reel(s) with their corresponding storage cans. 7" reels hold 400'.

Film is returned from the developers on a 3" reel - about 50' and 3 minutes or so depending on the original filming speed. So unless you like rewinding 3" reels every 3 minutes, putting all the 'like stuff' on a single reel is the way to go. Be sure to accurately mark all reels. Nothing more aggravating than seeing Uncle Fred when you were expecting the grandkids birthday party.

EDITING

Editing for film usually involves cutting out the garbage and bad shots and making some kind of movie. Might be a narrative - or just what happened, or it could be edited into a story. To edit 8mm film you'll need a "flatbed". Yeah, they are cheap. Shipping's higher because of the weight. If your searching eBay , use this link to search for 8mm editors:

http://www.ebay.com/sch/i.html?_trksid=p2047675.m570.l1313&_nkw=8+editor&_sacat=0&_from=R40

Be sure to get a 8mm editor and NOT a Super 8 editor. Different size film, sprocket holes, etc. Again, these also have lamps so make sure the lamp is good or expect to spend $10-25 for another. These do not have a motor to move the film. All done by hand with hand cranks. You will need a single edged razor bland or film cutter, and film cement, and possibly some leader material. The leader is all white and serves only to allow the film projector to be running BEFORE the film you want to see shows. Else you would miss something.

Link to film leader material:

http://www.ebay.com/sch/i.html?_odkw=8+leader&_osacat=0&_from=R40&_trksid=p2045573.m570.l1313&_nkw=8+film++leader&_sacat=0

Link to film cement:

http://www.ebay.com/sch/i.html?_odkw=8+editor&_osacat=0&_from=R40&_trksid=p2045573.m570.l1313&_nkw=film+cement&_sacat=0

PROJECTOR SPEED CONTROL

All projectors have a speed control. Use it to adjust the motion in film when running to what "looks normal". The projectors lens is focusable. You can project against a painted wall, a white sheet or use a film screen.

PROJECTOR MANUALS

Projectors manuals are available online. Some free. Try a Google search:

           film projector manuals

"...Popcorn is optional..."

BOLEX P1, KODAK EKTACHROME 100D AND METERING

This post explains how to compensate for Kodak Ektachrome 100D and the Bolex P1 Metering system.

Kodak's suggested neutral density filters are general suggestions for this type of film used in a "daylight" situation to help avoid overexposure.

     http://motion.kodak.com/motion/Products/Production/Color_Reversal_Films/5285.htm

From the Kodak page they suggest using a .3 (1 stop) or a .6 (2 stops) ND filter to avoid overexposure. You could also drop a stop by rotating the iris. For example if the iris is set to f/5.6, and the needle centered, you could move it to f/8. That will give you a 1 stop decrease in light. The needle will show underexposed - ignore it.

If you instead used a .3 (1 stop) filter in the lens holder of the P1, the metering system will just see 1 stop less light and you would still center the needle. This would put the camera exposure back to what it thinks is 'normal'. And it would be still be one stop overexposed for the Ektachrome 100D film you are using. Keep in mind, this compensation as recommended by Kodak is ONLY for Ektachrome 100D film. Other films may or may not need compensation.

Keep written records of what works best. ASA, film speeds, compensation, subject lighting, overall lighting conditions, etc, before and after shooting. 

BACK LIGHT

Another situation is a "back light" scene where a strong light behind the subject affects the overall meter's setting. It 'reads' all light in the scene which 'skews' the overall metering values towards underexposing the backlit subject. Although the needle in center, the meter is 'lying to you' about the correct setting. 

To fix a back lit scene, you would adjust the needle for that excessive light and the resultant developed film would be exposed correctly. Back light in any 8mm cameras typically calls for decreasing the iris to a larger number (smaller iris opening) by about 1/2 to 2 stops depending on the strength of the back light. 

Three ways to correct:

     1) Add more light on the subject(s) then recompose the shot

     2) Close the iris 1-2 stops (guess)

     3) Get close to subject, fill the screen with the subject,  and then set the (meter). Back up and      

         shoot the  footage. Do NOT readjust metering once set.

See here:

     http://phototips.alexismiller.com/2008/07/backlight-situations.html

For more information, search Google for these terms:  

     backlight compensation

Example:

If the needle centered at F/5.6, for a typical backlight situation, one would move the P1 camera iris lever half way (or more - depending on conditions) from f/5.6 to f/8. The needle would read underexposed by one stop, however, the subject would be exposed more correctly. The background light would be a stop less, too. Remember, you always (usually) want to set the exposure for the subject. Backlit situations set the iris for what is behind the subject. What is really needed is spot metering.

Unfortunately spot meting is not used on the Bolex camera. Bolex diverts all the light from the picture as seen by the lens. Under most condition this gives a good average of the light in the scene that the camera is shooting. But unfortunately does not allow for backlight conditions.

One way around this is to meter the subject with a separate light meter such as a Sekonic L-398. 

Here's a link to its manual:

     http://www.sekonic.com/Products/L-398A/Documentation.aspx

Unfortunately, these also while doing a great job (and at a low cost) for how they are intended to be used, the L398 cannot do spot metering :(

You can use a spot meter to meter off the face value from a distance or just guess the iris compensation based on experience.

Sekonic L398 Meters on eBay:

     http://www.ebay.com/sch/i.html?_trksid=p5197.m570.l1311&_nkw=sekonic+l-398&_sacat=0&_from=R40

Regardless of what meter you use, using a meter can get better footage than guessing. I like the L398 as it has FPS (cine), ISO , aperture, and  EV settings. Just dial in numbers and take a reading. Easy to use, no batteries, inexpensive (used).