Josh Hill

I think crystal sync needs to be an essential feature. I know the Beaulieu 6/7/8/9008 Pro models are crystal, but thats only one line of (expensive) cameras (though they are, I think, the best).

I have a Super8 camera, I'd like to use it more but I don't have anything to edit on. I think it would be good to learn how to actually splice film and to start off with Super8 is a better idea than screwing up more expensive 16mm film. What should I get to be able to cut super8 film? I'm assuming I need more than just a splicer. What should I look out for? What are some good brands? Etc. etc. Thanks.

Or buy one light at a time and supplement what you're doing with rented lights. Its what I'm doing at the moment. I bought two Arri fresnels, a 650 and 300 watt, and I'm supplementing them with two Mole Midgets (200W) that I rented along with some bounce cards (white foam core). They're working out really well (I literally just finished lighting a night scene with the two midgets as fill and the Arri 300 putting out a concentrated swath of light across a bed. We're using the 650 for a door that opens and spills light across the room. I bought what I could afford without going broke and rented two lights (with stand, scrim, and barndoors they came to 15 a day). I'm shooting video so we're white balancing for color (we have the tungsten balanced cool for the night scene). If you buy what you can afford and supplement with renting you can start building a light set, built to your needs, and not have to worry about getting everything at once. I'm a theatre major who does film/video work on the side, so I bought fresnels because thats what I'm most comfortable with.

I think blowing up the image wouldn't be that bad. Even if I'm shooting NTSC (I've seen Full Frontal as well as 28 Days Later, and I think both achieved their desired results, though they were using the PAL camera). We're definitely shooting 4:3 at this point, just in case we need a 4:3 master someday. Thanks for the help. I'm going to look into getting an anamorphic adapter for the camera one day (or renting a Mini35 for future projects). Glad to be a part of the board. Thanks for the help. Can't wait to get the processing money to shoot some 16mm :-) Later.

Here's the conundrum. We're shooting XL1s, no doubt about it, with no Anamorphic adapter (its either in camera or in post). There is a 50/50 chance of transfer to 35mm. I know this'll crop the frame down to 1.85, so in best case scenario (35mm transfer) what would be the best way to shoot? 4:3 so that we get the full resolution and in case of a blow up? (We may also have it transferred to 16mm for festival showings, so that would be an argument for 4:3 I know.) We shoot tomorrow so we're trying to make the final decision tonight on whether we do in camera 16:9, matte the 4:3 down to 1.78 in post for a letterbox. It really appears that the in camera 16:9 and the post matting will yield the same result.

Monday I begin shooting a short on my XL1s. The director and I have both decided to go for 16x9 whether it be matted in editing or in camera. I have a 16x9 compatible monitor, so framing and such won't be a problem. My question is: What would be easier to make 16x9 accessable to all televisions? Should I just shoot with the guidelines on and then that can be matted in editing? What programs can uncompress the 16x9 video so that it can be viewed without distortion on 4x3 televisions? Any suggestions or comments? I don't know what editing system the director/editor is going to be using, so this may be a determining factor in that. I checked the archives and didn't necessarily find any topics that seemed to match, but I could have missed something. Thanks.

It ticks with film as well. When my roommate gets home I'm running a sound test to see if it holds sync. As long as thats the case it really doesn't bother me that much (functionality is the number one issue). Any other ideas let me know. Thanks, Josh

I remembered reading, though, about a law in the US that bans actual hypnotic suggestions in movies because tests were shown that audience members can literally be hypnotized during the movie. You might want to look into that too, since there's probably information you could use or should know. Josh Hill joshhill@hot.rr.com

The best way, I think, is to go work on a movie and try to strike up some sort of dialogue. If they like you, you have a mentor. If they don't, well try again. Josh Hill joshhill@hot.rr.com

Yeah, the sound seems to be coming from inside the camera. I haven't really shot a test yet (both of my batteries need recelling, one holds a little charge and the other none at all) but its definitely not a mag problem. If I knew it shot well I wouldn't even bother worrying about it, but like I said I haven't had a chance to run film through it yet (soon though, probably tomorrow if my battery is charged well enough). I'm a college student, so the CP-16R was the only sync camera I could afford. And I probably shouldn't have spent my money on that. But I did and I just want to make sure if I get the 16mm bee in my bonnet I can go shooting. Quesiton though: How is the Super 16mm conversion and where did you get it from (Visual Products?) Do you have the halfmoon or butterfly shutter? I'm running with the 156 degree butterfly Look forward to hearing back from you, and thanks. Josh Hill joshhill@hot.rr.com

I've started putting together a light kit and I was curious: Why are Arri's fresnels more expensive by between thirty and fifty dollars when you order them in black?

I'm currently building a light kit from scratch for my XL1s and my CP16R (still haven't shot any 16mm with it, but I'm excited about when I get to). I have an Arri 650w fresnel and an Arri 300w fresnel. What should my next move be? I was thinking about an Arrilite 1k or 2k, or maybe getting another 650w. I don't know how useful smaller wattage lights are (100s and 200s), but I was also looking at getting some LTM peppers. I'm building the kit one light at a time (buying the light, stand, barndoors, accessories, etc). What would an optimal kit be? Suggestions? Opinions? Should I even buy any open faced lights, or just use a little bit of extra money and continue buying fresnels? Thanks, Joshua Hill joshhill@hot.rr.com

I recently purchased a CP-16R off of eBay and it is now making a slight ticking sound (much louder than the sound of the film running through the camera). It is constant and rhythmic. Has anyone else had this problem? Thanks, Josh Hill joshhill@hot.rr.com

What you saw in the making of was the Arri PL Directors finder. It allows for 35mm camera lenses to be used to see exactly what the shot is going to look like. And in case you wanted to play around with them there's one for around 2 grand on ebay. They're not cheap and neither are the lenses. But the movie was definitely shot in 35mm. Josh Hill joshhill@hot.rr.com