Isaac Chung

Does anyone know of any facilitiy in NY where I can edit 16mm on a flatbed?

MPE has only one machine, and it's not at a facility and very expensive. Millenium Film Workshop has a good station, but they are only open for 3 hours a night (for four nights) and on Saturdays.

Anyone know of anywhere else?

I've checked: Postworks, City Lights, Magno, Sound One, and Creative Mega. All have none.

(I request responses that answer the question and not suggest alternatives such as editing digitally)

I mean to say that 95% of the filmed footage is in Super 16mm, and 5% is filmed in DV. Thanks for the responses--I'll contact those post houses tomorrow-

In mixed media productions where DI is not an option, is it possible to transfer mini-DV to Super 16mm negative for inclusion in the AB roll? Please let me know what the options are for mixing in a 5% DV and 95% Super 16 production. Thanks,

Isaac

I had a similar problem of getting film to Rwanda since there are no local vendors of film in the country. I ended up getting film from South Africa, and they'll use a local shipping company to get the film to Kigali; I also tracked down a Rwandan film commission that will clear customs for me there. Consequently, no xrays during the entire shipping process.

I'd suggest you work with local commissions or look into the Kodak India office; I'm sure there is a vendor in the country that can ship domestically, and this will make your production much easier (as well as your airplane ride). Other than that, I hear that you should be patient at airports if you carry in film; take a changing bag and go along with the official rules.

Thanks for the responses. I also had a backfocus issue on all of the Cooke Kinetals I tried, so I think it has to do with the adapter. I'm in the process of trying to find a zoom lens to test instead. Most likely, the super 16 converted Cooke. Thanks again.

I've tried different methods of putting the lens in the adapter, and it still won't work. Once the lens is in the adapter, the focus ring moves, but when the lever is pulled to lock the lens in (for standard mount), it's completely immovable. In fact, the lever lock does not fully engage.

If a different lens adapter altogether could work with these lenses, that'd be great. In fact, if you could let me know once you get yours, or if someone who's had experience with this write in---

I'm not sure if my adapter is from Les Bosher.

But would that only work with a CP adapter? I don't see any hex screws on my Eclair adapter.

Besides the Cooke Kinetal, the early Schneiders with the Arri Standard mount worked the same way. The later Schneider lenses were what I like to refer to as "internal focus"; the barrel of the lens mount stays stationary. Those may work with your adapter.

Thanks Tim,

How about the old Zeiss Planars. Do they also focus this way?

Isaac

I tried using an older 25mm Cooke Kinetal (Taylor Hobson) arri standard mount lens on my Eclair via it's adapter and found that the focus ring will not move. Additionally, the focus seems to be quite off.

Are these Cooke Kinetal Arri-S lenses incompatible with Eclair to Arri S adapters, and if so, what types of Arri-S lenses will be compatible?

Also, is there any way to fix this compatibility issue?

To note, I'd rather not use the p+s technik again (at least, with the FX1). Given the choice between that rig and shooting super 16, I would rather go with super 16.

last year, I used the mini35 with an FX1 and had good results (used Zeiss lenses):

http://www.imdb.com/title/tt0759955/

personal likes:

-use of zeiss primes

-Ability to shoot on video--good when production demands many long takes.

personal dislikes:

-I'm not sure if this is normal, but the field of view seemed cropped--a 35mm lens seemed to provide a 50mm field of view and so on.

-terrible loss of light; around 2 or 3 stops.

-inability to shoot anything at or above f4; otherwise, the spinning ground glass becomes visible.

-again, shooting on video rather than film

suggestions:

-Tape focus ring on camera to avoid back focus issues; this happened a few times.

Critical focus seemed to happen at 1.3m (or was it feet? it's been a while--) on the camera.

-I used a deinterlacing program to achieve 24p; it improved the project dramatically.

I don't have any clips online, but I can send you a film if you'd like.

isaac

I watched Larry Clark's "Wassup Rockers" at Slamdance and was shocked to find that it was shot on the XL2. It was transferred to film and looked like 35mm. (Normally, I have a good eye for the differences and believe the differences between Mini DV and 35mm are tremendous)

Does anyone know if Steve Gainer (DP) used the P+S Technik adapter to achieve the shallow depth of field?

And what post processes were used for the film?

I should have asked these questions at the screening but didn't think to; how do I normally find these things out?

Thanks,

So it's possible to use, just that the lenses have to be closed further than f/3.2.

This is very limiting.

I read in another post that RX Switar lenses shouldn't be used on non Bolex RX cameras b/c the lenses were designed for the Bolex only.

Supposing I use RX Switars on my Eclair ACL2, what are the issues? DuAll Camera in New York tells me that it will be fine. Could someone explain who is right or wrong?

Thanks--