Justin Talley

Not to pile on, but in a 5 cam DSLR pilot shoot that I did summer of last year ( ) we had 1 5D, 2 7Ds and 2 T2i cams... BOTH T2i bodies (bought at different times by different people) had the LCD screens burst in various places. Big green blotches of goop bubbled through to the fore and obscured about 5-10% of the screen. To reiterate what someone said before, it's $900 cheaper and if you really push the limits of what these buggers ought to be used for, it'll cost you.

So, I know that I'm one of a small handful of people out there that owns a 16 BolexPro... and like many of us that own them, mine has sat around for quite a while not being used. Recently I purchased a Bell and Howell Filmo 70DL to use for hand crank work, and it got me thinking... I had a super easy time finding a C Mount to Nikon F adaptor... Is it possible to adapt the strange lens mount of the 16 BolexPro to C and then Nikon mount? Or even to adapt it straight from it's odd lens mount to Nikon? Again, I more than recognize that there are very few cats out there that have one of these strange dinosaur cameras, but heck, the think still works like a champ and the crystal sync motor is still rock solid... so if anyone out there has any wisdom on this issue, please reach out to a brother in need. Patiently waiting in Los Angeles, Justin Talley profnoxin@gmail.com jtalleydp.com

I own one of these cameras and there are a couple thing to look out for. There were two main versions made: one where the motor and charger are combined in one external box and one where the two are separate small black bricks. The version with the combined motor/charger is flawed, with the heat from charging damaging various components in the motor. The other is an amazing engineering feat. My camera is probably about 11-15 years older than I am, and it shoots film steadier and with fewer scratches than a few SR3s that I've rented in Los Angeles. It self threads with remarkable accuracy making it very possible to run small one man show type jobs or an insert unit. You are stunted terribly on lens choices, and if you do not keep your battery adequately charged it can cause jamming or sync loss (there is a clear sync indicator). I picked mine up for 3k and I've done a dozen short films and two features, and so for me it was totally worth it. Also, last note; best viewfinder for size, brightness and sharpness only comparable with the 416. Cheers, Justin Talley 323.353.8977 Jtalley.8m.com

There are a number of programs for both PC and Mac that do the trick. Most of them are NLE specific. Lumiere is probably the best for FCP, but there is also HDVxDV which is about $100 U.S. less expensive. There is a company that makes one for Adobe Premiere that is supposed to be the best, but you are stuck editing in premiere. If this is not a problem for you, then I would research it. It's by a company called Cine something... CineWork or something like that... sorry that I don't have the exact name.

The component outputs are the highest quality outputs that the JVC has. To the best of my knowledge, on the 60p can be output at uncompressed. I just recently met with JVC's lead engineer, and he confirmed this assumption. As to the drives, any HD signal that ever passes through firewire is compressed. If you use one of the firestore drives with the HVX, the same things happens. So, your 720p 4:4:4 footage on the JVC will be compressed to 4:2:0 after passing through the firewire cable to the Harddrive. This means the best way to get 24p footage out of the JVC is to record to tape, and then take the tape through an HDV deck that is hooked to your computer via an AJA Kona LH card using the component inputs. This will give you 4:2:2 footage. If you want the highest output possible, you can shoot 60p uncompressed hooking your camera up through the component outputs. The look like RCA outputs, but once you plug all three video cables in (R/G/B) it will passthrough at uncompressed. I hope this helps, Justin Talley 323.353.8977 profnoxin@gmail.com www.justintalley.8m.com