Kirk Anderson

Sorry Man, sounds like a crappy situation on all ends. Just to play devils advocate I've had Pro8mm develop 22 rolls of 200t and 500t. Besides feeling like I lost a few pounds in my wallet everything went great! They were fast and everything arrived safe and sound. I did my transfer at Post Group in LA to save some cash and ended up with a great film! Always expect the worst when shooting film, but your lab should also expect worst with their shipper. (IE package the film safely, well and in a timely manner.) They should comp your charges or at least replace the stock. I definately wouldn't do business with them again if I were in your shoes. Condolences

Mag+MM motor+Barney=$150, shipping extra any takers?

Thank you Clive, upon my research I've found that this motor is not crystal modified, but it is constant speed with pilot sync. I saw one of yours online and thought they were the same, mine is missing the tobin nameplate. My honest mistake, this is my first interaction with bolex motors. Still if anyone is interested shoot me a PM, I'm moving at the end of the month and must lighten my load. IE dirt cheap

here are some pics. I just emptied my PM box, so hit me up.

Hey guys, A very kind and gracious young women was nice enough to help me out with a box of bolex accessories, but turns out my bolex is in need of repair and I will probably end up getting rid of it and stickin with my Arri S, so if anyone is interested in these parts let me know! 1) Silver Paillard Bolex Case for an Rex 5, (no camera, just case) 2) 400' mag 3) MST motor in original box #6522 Crystal sync 4) MM Mag motor 5)Leather Barney for Bolex 6)Matte box and rods 7) UNImotor B #22459 8)Paillard bolex voltage regulator 9)batteries "type BX-55.12" with sync input 10)Very nice pistol grip 11)very nice "D8L" pistol grip, in original box All this stuff looks in very nice condition, but I haven't tested it yet, I will soon. Let me know if anyone is interested. pics on request. Will also consider trade for Arri S accessories, even possible higher end Super 8 stuff. Thanks

sorry about the long wait! please send to the email on my forum profile! thanks kirk

I'm editing a super16 short. Budget was over $30,000 and this is my first edit of this caliber. I intially captured all the HD footage from DV, not miniDV, tapes into my FCP at 24 fps using a sony deck. I then linked all the sound and made a first cut. Now, another more experienced editor is telling me everything was captured wrong and must be re-captured in order to have the master cut be in HD. Something about how HD only reads zeros and fives??!! I'm way confused and now I have to start all over. How should I capture this footage in order to have the master cut in HD? I have cinema tools but haven't used it. Anyone know exact settings I need to use in order to capture footage correctly and be able to have the master be HD. Everyone feels that after spending this amount of money on a film it would be a waste to finish in DV, especially after the expensive HD telecine from fotokem. any ideas would be greatly appreciated. Kirk

I'm interested in the minolta, my personal favorite super 8 cam! could you send me some info? thanks Kirk

of course IMHO, ARRI S for sure. drop it off a ladder, still runs. excellent registration, great accessories. no doubt in my mind, find an arri. better than a penta, bolex or kinor, but of course, it's all IMHO.

thanks for all the help guys, the projector is working great and it even threads itself on the takeup reel automatically. I'm officially set for monster movie season! I watched "House of Frankenstein" last night and just received "Moon Zero Two" today! THanks for all your help! kirk

Thanks for all the info, I think my heads and tails were all over, correcting the problem loading at first, but the projector is still bunching up and jamming two or three times before running smoothly, it's almost as if it goes through the loop OK, projects, but then misses the guide and ends up inside the projector, never coming out the take up side. it does operate at 18fps and at 24fps, at the flip of a switch. I can't believe this brand new projector is giving me so much grief.....

on this same genre, but a little off topic, I have just bought a Chinon sp 330mv projector from an estate sale for $10. It was in the original box still wrapped in plastic, never even been turned on. the warranty card is still there with a wrapped microphone and wrapped cord, absolutely immaculate. I put it together and tried to run an old monster movie through it and the damn thing is a bear to thread. auto load my ass. Are all projectors this finicky? escpecially a brand new one? also I think it is magnetic sound, is that better than optical? I want to use it to show old monster movies what kind do i need to buy to have sound? most monster movies don't say optical or magnetic sound on the box. thanks again, a little off topic, but I figured you guys know it all.

I've done this quite a few times with a bolex and a arri S, but i just did a piece on super 8mm the same way. You can research back logs and see I've made many posts on the subject with the tag, "faux sync sound". Here's a clip from a current project shot on a canon 814 and sound recorded on a marantz pmd201 tape deck. It's pretty believeble but definately not perfect. kirk http://youtube.com/watch?v=3NpBiNevVnk

I recently bought this wonderful machine at an estate sale in sf. believe it or not, it has never even been plugged in. it's in the original box still wrapped plastic, all the papers, cords seperated, immacculate condition. the split reel even has paper mimicking film so it stays firm during shipping! So, now I need some Monster movies with sound for the summer season! Where can I buy some 8mm monster movies? ebay has a few, but I want some mummy or frankenstein or dracula! anyone have any to sell? or know a website? thanks! kirk

TIMETUB will be premeiring at SFSU FILM PREVIEWS on MONDAY MAY 14th at SFSU Coppola theatre. I don't know the exact time yet, so come out all day!!!! Come out and support the films created by the Cinema Dept at SFSU. Film Previews Monday, May 14 & Tuesday, May 15 9:00 a.m. - 5:00 p.m. Juried screenings of Cinema students' films made in the past year. Films selected by audience and jury will be shown at Film Finals (see below) Coppola Theater (FA 101) Film Finals Reception 5:00 - 6:30 p.m. CA 153 MiniCine Information Show 7:00 - 10:00 p.m. McKenna Theater (CA 129) Films selected from Film Previews Film Finals on MySpace

here's a quick 20 second clip, I had trouble getting the files on youtube, I need to figure out compression better. anyhoo, as promised here's a taste. http://www.youtube.com/watch?v=3NpBiNevVnk kirk edit, also I just found out Pro8mm did the processing, so hats off to them. Although these images have been through a long long color correction process during telecine at post group in san diego

Mat, I wasn't around for the actual shoot, but they used most of my equipment, I belive it was recorded partially with the internal Mic on the actual macbook for tests and a few larger group shots, but mostly with a Shure SM 57. The mic used step down adapters until it was RCA jacks and plugged into a box then directly into the computer. Garage band was then used to record. The sound was acceptable, as I said before and there was definate camera noise and they had a slight problem controlling levels. I'm not sure if that was due to amateur actors or the equipment, but when the actors would go from soft voice to yelling the audio would be almost non exsistant, to overbearing ear drum bursting loud. I just feel like the mic was almost too responsive, or just really touchy. As far as the actual process, clapper boards are the greatest asset to an amateur sync sound filmmaker. Just make sure your clapper girl has the board in a place you can read and watch the snap, then gets the hell out of the shot. A few times, the board was unreadable, or the clap wasnt there, or the girl stood in the shot and as an editor I was screaming! I should have a post of footage up tonight! kirk

I'm fairly happy with the quality of the sound, there is a smidge of camera noise, but what can you do with out spending more cash on a nicer/quieter camera? They wrapped the cam in a pillow most of the time. The sound did drift a little bit, approx 6 frames every 10 seconds. I would just trim the sound frames on longer takes and it worked well. Much to everyone's surprise the sound from the tape deck sounded 10x better than that of the lap top, but we mostly used the laptop sound because of time contraints on a festival entry. We would have had to transfer all the tapes to AIff at real time and bring them into FCP. THe lap top sound was just easier. should have a few scenes up shortly. The dialouge was definately heavy so syncing was crutial.

edit: it was an untested Canon 814 autozoom, not an XL

I've just finished my first cut of TimeTub. It's a super8 film, shot on a Canon 814 and recorded on a Marantz pmd 201. A friend of mine approached me on how to make a film on super8, he wrote and directed the piece. I had been heavily involved with a different project and I advised him and loaned him equipment with out fully reading the script. He shot it all on Kodak 500t and 200t, then hooked up a color transfer and telecine from Postgroup in San Diego. He then gave me a copy of the script, DVD of the footage and a CD of the sound. I've spent about 40 hours syncing sound and making the first cut with him at my side. If you've ever edited with a director you may know, they want to keep everything, every single line, every reaction. Sorry for my rant, but after his edit with me the piece was 22 min and incoherent. I will recut this week and probably pull it down to 15min and attempt to make sense of this time travel/alternate universe film. Just wanted to let everyone know, it is completely possible to shoot and create a film using faux sync sound techniques. We bought a Canon 814xl from ebay for $100 and shot with it the next day.(untested, that takes balls baby) + We used a combanation of Laptop with garage band and a Marantz PMD 201 tape deck for sound. + Clapper Board + FCP and lots of hours = A sync sound super8 movie for under $1000. Total we had an hour of footage and I would guess a 15 min after my recut. It is possible, completely possible to create a super8 faux sync sound movie. I just wanted to give some inspiration, and I will post clips this week. also if anyone has any questions about my experience I'll do my best to try and answer.

I checked out MSU bozeman, USC and SFSU. didn't like bozeman, heavily involved PBS station and i already lived in the mountains. USC was too much dough. So, I left Colorado and took out loans for out of state tuition for San Francsico States cinema program. After one year I became a Cali citizen and my tuition dropped. Five years later I'm almost graduated and I'm only $24,000 in debt. and all those are state subsidized. I don't regret anything. great program, great teachers, people talk trash, but that's because whereever they go is better than the other. I.e. I like SFSU better than city college. Four year college vs Junior College. visit everywhere and make your decision. I visited all three and choose SF, now I own an Arri S and have produced several films headed for film festivals. all in my own personal opinion. kirk

I'd also like to be able to shoot some surf footage when I go down to San Diego this Summer. I figure instead of taking out my surf board, I would grab a sponge and some fins. What I'm planning on doing is picking up an old Filmo 70 or even a Keystone, for $50. Then I'll probably attempt to make some kind of splash bag or even a box. I think one of these cheap cameras would be better because they're not reflex, and cheap, and if I destroy it, I still have my Arri and my Bolex. Also, If you read or see pictures about surf photography, most photographers have their cameras mounted on a pole and they are swimming free. They stay under water inside the wave and use the pole to put the camera in position. They then end up getting smashed and attempting not to get sucked up and pushed over the falls because to get a good shot you have to be right in the pocket of the curl. My first advise is to swim out with a sponge and no camera and practice setting up and get super comfortable. Then, only after you feel super comfortable and you're not tired, bring your 15 lb camera out. Surf Cine is extremely dangerous and a 15 lb brick of steel WILL drown you if you get tired and disoriented. Be safe, have a buddy and stay the hell out of the way. The last thing you want is to only get a shot of a local punching you in the face. sorry, I recognize the tangent, you said in the surf, not surfing. anyhoo, I'd buy a filmo and a cheap bag, rather than risk an electric rex 5.

I'm with Tim, I have an Arri S that is amazing. I've owned K3's and Bolexes which are great for snowboard films, but steer clear of the NPR. My cinematography teacher once told me. An eclair is like a old porsche, can be very fast stylish, but if you don't tinker with it constantly, it falls apart. if you bump it you might as well throw away your film. ALso I've had over 4 mags jam with the NPR. I hate it. I've spent hours in a changing bag on a hot summer day re-spooling what that god damn npr did to my film. An Arri S, is like a VW beetle. If you treat it right it runs forever and you can drop it off a ladder it will still run forever. For what your shooting get a super 16 K3, perfect for extreme sports and has the best grip and shoulder mount situation. if you want something for more professional shooting get a Arri S, It's what Volcolm shoots on their surf and skate vids. just remember, a K3 and and a H16 bolex is a consumer camera. They are not professional. They can make professional images, but are not designed for high end shooting. and of course this is all in my opinion. kirk

On Feb 10th I had the opportunity to be a camera assistant on a music video being shot in San Jose, California. We had a call time of 8am at CLub Havana in downtown SJ and when I arrived we hads over 50 people on crew and around 30 extras hanging around. The artists name was Rome and he was a latin rapper, music was almost raggaetone. I was told the video was for Mtv3 and Mundoz. I was also told that becasue it was being shot for those channels that it would definatley be a racier, sexier video than a typical MTv video. THey weren't kidding. WHen the cameras arrived on set we had three Panisonic Hvx-200 with p2 cards. I had never shot with one before, but before I knew it I was a camera operator. I shot over half the video including several jib shots and dollys. For some reason the director wanted three cameras rolling at all times. So in the end I believe we had over 450 minutes of footage for a three minute song. I was also tought how to dump p2 cards into a lap top and manage the raw media. By 5pm we were far behind schedule and things were being cut left and right from the shot list. WE had also lost over half the crew. this is what happens when no one gets paid and the shoot is extremely unorganized. But the girls were still there. We had over 20 girls in lingerie and covered in baby oil. I think I want to shoot rap videos from now on, lol. The premise of the video was Rome arriving to the club in an escalade limo and preforming on stage to a packed crowd of scantaly clad women. THere were several scenes shot in the VIP room which included a group of 10 girls in lingerie rubbing on each other while Rome looked on reading a book of Kamastura and eventually joining the mass of women and rapping his song. Also a random scene of Rome meeting a girl by a phone booth outside with his "Hype man" and two security guards. It all came together with a choerographed dance troop while rome looked on from a Chaize lounge and a girl rubbed lotion on his tattoed chest with janet jackson pierced nipples.(worst part of the shoot). All in all it was a good day ending at around 9pm. I now feel comfortable setting up and using a Hvx-200 P2 and managing the raw media from the P2 cards or pocket drives. I'll post some pics later this week and eventually upload the video. kirk

a couple of kids in my 16mm film class bucket processed their final film. Black and white reversal, after they finshed and let it dry they told the the teacher they thought their film was destoryed and the couldn't see any images when they put it on the moviola and wanted to apologize to plead their grade. They said the film turned into tape and stuck to everything and just turned into spaghetti. The teacher had us project the film on an Eiki anyways and what the class saw was pretty freakin cool. The images were pretty clear while every once in a while the emulsion peeled off completely making a flash of white or a build up of gunk making pure black. also sometimes the perfs looked like they went across the frame diagonally from the stickyness. Made for an awesome experimental film. story about a saxophone player. but I would only bucket process for experimental films, you won't get clear images unless you are meticulous and super lucky.