Gary Lemson

Was American Graffiti unoriginal?

Regardless of the lighting, I found your work on this very inspiring. Thanks for posting it.

Agreed. I want to see more...keep 16mm alive!

Okay, here it is. http://www.blip.tv/file/222365?filename=GL...TheAttic410.wmv I originated this docu-music short on an HVX-200. The file is rather big, so it may take a while to load. Thanks.

Ampex released their first machine to market, the VR1000 in 1956.

I've used Epson R300 and Epson Print CD (with inkjet printable DVDs), and Memorex exPressit for the DVD cases. Epson works very well. Memorex exPressit software works well,too. However, the exPressit package comes with matte style paper.

Hello, Can anyone tell me which Reg 8 and Super 8 projectors can run at either 18 or 24fps? Thanks, GL

"...you have to say in comparison to what. " Good point. One might surmise that Ron was comparing "scope" to 35mm anamorphic. "...dye transfer prints back then ...were more saturated..." Agreed. Well, I listened to Ron's comments again, and I'm still not sure what he meant with regard to a desaturated look of "Graffitti". Thank you for your insights. Much appreciated. GL

Hello, In ?The Making of American Graffiti?, Haskell Wexler mentions that George Lucas wanted ?strong colors? as opposed to a desaturated , or pastel look. In the following sequence, Haskell Wexler and Ron Howard independently discuss the decision to use Techniscope. Ron mentions Techniscope had the effect of 16mm grain and desaturation . This appears to conflict with the desire for a saturated look. Could someone clarify the effect of Techniscope on saturation (and grain) ? Thanks.

Hello, The Aaton Xtera has a rod that is clamped adjacent to the top right of the camera. Similarly, there are two shorter rods protruding back from the view finder assembly. Just curious?What is the purpose of these? Thanks.

Hello, I?m looking for some clarification on the subject of video encoding and transcoding. My intent is to understand methods to achieve the best quality transcode to standard DVD. Is there any advantage to encoding (exporting) from a timeline uncompressed, then perform the transcode within the DVD authoring application? Will this work? Some transcode presets call for one or two pass at some defined bit rate. Does two pass imply more compression? When working with 24P, it would seem obvious to keep the frame rate the same for all processes, right? Edius Broadcast allows for multiple frame rates within a project timeline. How should one set the export and transcode frame rates?

Good reference...Thanks!

Hello, Some motion picture productions of the 60s and 70s used a freeze frame effect, typically at the end of a film. For example, an actor might be walking along and the motion stops mid-step, and that frame would be held through the credits. How was this effect created in the days of pre-NLEs. Thanks.

We need a Flickerfest in the Bay Area.

I have heard this too. However, it is not clear to me how those cameras would allow for a more stabilized image since the pressure plate is an integrated part of the S8 cartridge.

That's the article I was referring to. Inspiring stuff. I know that my NLE doesn't have a stabilization filter. I thought maybe one of the other top NLE's might have it. I just haven't investigated that yet. Thanks again.

I read an article about an S8 filmmaker that used digital stabilization in post production, rather than a hardware solution like the Frame Master. Have any of you tried this? Great insights here from everyone, like usual. Thanks.

Hello, I was wondering if there might be any chance of reflections occurring with the Frame Master device. Wouldn't it be more desirable to have a black anodized finish instead of chrome?

Are there any cameras (Beaulieu, Leicina, Canon 1014, etc.) less susceptible to the inherent cartridge issue?

Great info here! Thanks.

Could you clarify this? What would it take to improve the device? Is it too thin? Is it not stationary?

Where do we get those from?

I came across a pressure plate device for S8 carts advertised in Small Format magazine. It's called the "Frame Master". Anyone tried this?

Is there anyone out there interested in meeting monthly in the SF bay area as an 8mm users group?

Are you going to post the footage for us to see?