Craig Agee

interested in any kind of trade? i have an s16 converted K3 and a lowel tota light kit.

http://cgi.ebay.com/Canon-GL1-w-Raynox-FE1...1QQcmdZViewItem did gl1's go up in value? i sold one two months ago for $900...not $10,000 'Why the great deal? I'm off to film school next year, and it's expensive.' haha thats my favorite part

vincent is a very talented painter,recording artist,filmmaker,con artist (self proclaimed),shoe designer (the list goes on)...he never set out to 'make it in the buisiness' of movies.he just set out to make films (among other things).i dont think he would pride himself as a 'director' in 'the buisiness'.i saw brown bunny in the theater and i left with a strange feeling in my stomach(remember when art actually provoked thought?)the movie bored the hell out of me but if youve ever driven across the country alone you might of felt it.i felt anxiety and boredom and the movie even made me sad when daisy died.maybe im easily amused but i enjoyed the film.buffalo 66 on the other hand was a breath of fresh air, i really enjoyed it.gallo has said he rides a bicycle instead of walks so noone aproaches him and bugs him,he also sells his sperm for $1,000,000 (did someone mention uber confidence?)he sold his house after his girlfriend left him because it smelled like her.he said he stopped painting in the early 90's to deprive the world of his beautiful art.he use to masturbate into plastic bags and leave them all around the city of buffalo,he doesnt drink or do drugs and follows an extremely strict diet.he also bagged paris hilton.i dunno if a point is coming across but i laugh when people try to understand him or critisize his films.i stopped trying years ago. ps. his ebay name is NBVBN check out some of his auctions its amusing

thanks david you the man

my minolta auto meter VF in cine mode gives a reading for a 180degree shutter angle...my k3 has a shutter angle of 150(so ive been told correct me if im wrong please) how do i calculate this?

just curious what anyone would do with two 500w tota lights shooting interiors on 16mm.i have them from my still work and only used them to bounce off ceilings for ambience.would like to be as creative with them as possible.also im wanting to buy a third light for my 16mm stuff.any suggestions to go with my totas? thanks

i agree,david has been the first to anwser a few of my questions in cases were most people would probably roll their eyes and read on(some of my questions have been pretty naive) but yeah seems like a great guy and very knowledgable and nice enough to share his knowledge.id like to see some of his work what does anyone reccomend?

thanks david...maybe i will consider transferring to video to get the most out of my s16 camera.seems a waste to shoot r16 when i have the mod.maybe my dream of simplicity is just a fantasy.im very concerned with the direction its all going mostly out of fear i dont understand the technology.i argue with fellow photographers constantly on the film vs digital debate.i respect it as a medium but will be sad to see it replace film.i actually converted about 5 years ago to a dslr to try it and found myself learning about color spaces and ICC profiles for printers and extensive digital editing and still never got the look i am use to from shooting reversal film.maybe i have to conform.thanks for the responses though.

i shot a 100ft roll of plus-x reversal.if i were to build an editing table with synchronizer,splicer,sound reader ect...all i would need for s16 would be a moviescope that would cover the frame right? or wrong?im interested in analog because im a still photographer but im also a recording engineer and interested in using a nagra i have access to and editing completely analog.as a hobby i know it sounds strange and an expensive hobby but why not im interested in it.

yes...that is why my title is 'in over my head' hehe...i havent gotten to that part yet.i figure i will first figure out how to edit it then after that figure out what to do with it (im way in over my head).what is timed IP?blowing up to 35mm seems to be the purpose of shooting s16 right?what should i do? cut my s16 print and not worry about not being able to see the extra image in the frame? if i were shooting regular 16 i wouldnt be so confused.its just i bought this camera that has an s16 mod already so i figured id take advantage of that.any advice is GREATLY appriciated thanks

im trying to figure out what im gonna do with this s16 roll i exposed.to be honest i have NO idea anymore as im overwelmed with options.im really not interested in telecine and non linear editing,ive never worked that way in photography.i could always get drum scans for my negs and edit in photoshop but ive always liked to keep things very basic.i shoot fuji provia 100f and kodak ev100vs and the only editing i do is cropping.i would like to keep things basic with my s16 so my question is: what do i need to edit s16...if i get a splicer,synchronizer,sound reader,moviescope ect...can i cut up s16 on it? or is it designed for regular 16 if so what can you cut up s16 on?

i guess thats the law but that is kinda shady.i wouldnt do that to a friend.i just got a k3 myself and it seems like a solid machine.ive never shot 16mm before but im a still photographer so im curious to see how the optics are with the stock lense,as far as build feels as solid as my hasselblads i like that.a rule of thumb for still photographers is the heavier the body the better the quality.those cheap bolex's never interested me much although i looked at some rex5's but we are talking a several hundred dollar difference.as far as optics though pentax makes some very good 35mm lenses that i have used on several occasions so be happy with your k3 i am. ps: if you can try to make out with his girlfriend

alright so im about to process my very first roll of s16 or any film for that matter.im curious what kinda workflow i should get into....i can edit a workprint although they seem to be expensive...i have no idea what my telecine options are.my questions: what telecine option would you reccomend? what is a ballpark figure for that service?...this is just a test shoot/edit to try to get an effecient workflow for projects im new to this.should i edit a workprint myself or edit on my computer?i have access to a g5 with final cut but i got a pc here with adobe premiere.prefer to use my own PC but its not a great machine for it.so yes..effeciency and cheaper is my goal but without sacrificing my $50 a roll s16 quality,is that too much to ask?

heh i was just being sarcastic man

are you high? :lol: thats pretty funny though really,id watch it.it does sound like some whacky dogme ethic too,also why does everyone have such animosity towards walmart.this is america where else can you buy shoes,a dvd,shampoo,a bicycle,a frozen burrito,underwear and a shotgun under one roof?

is this camera bayonet or screw mount?

sorry this is an old thread but i couldnt resist,david have you looked at the d50? it is alot cheaper than a d70 and practically the same camera,6.1mp is plenty for an 8x10 print...the d50 has a 1/500 flash synch which is the ONLY dslr at that price that does,with the right glass it is a VERY capable camera for even professional still work,i wouldnt waste money on megapixels unless your intention is to blow up massive prints

you cant import video into photoshop...export your timeline from premiere as 'filmstrip' and you can edit in photoshop.that is the only way

im curious what someone would reccomend with a budget of $1,000 to learn about film.possibly 16mm,super 8,although i only want to buy something that will atleast hold its value(dv is out of the question)particulary a fully manual camera.i know $1,000 is a modest budget for a film camera but its still not a small chunk of change either and im not aspiring to become a DP or anything,just learning i already have a job.my best friend is an audio engineer,i am a photographer and we want to mess around for fun and make some short films.i know synch costs $$$...ive done research and have found the following interesting: the least apealing a k3,bolex h16 reflex,CP16(if i can find an affordable one)canon 1014 super 8,and just MAYBE,although i would be going over my budget ive seen arri 16s packages for about $1,500 although i dont know the shape they would be in.i dunno this is a lousy post sorry but would like to anyones reccomendations. ps hasselblad and zeiss glass might be up for possible trade also pentax 645 stuff and some nikon slr outfits if anyone is interested im sorry i probably shouldve posted this in the 'first time filmmakers' thread...apologize for the mistake

that is very interesting,obviously ive never touched a cinema camera hehe...my brain has to see something to understand something usually,although that was explained well and i think i understand a bit better.so exposure is most easily controlled with iris/aperture right?and i assume film speed plays a major roll.thank you for responding to my questions.

alright...i must warn i am not a DP,i am a still photographer who is curious and interested in film.this might sound like an ignorant question but i am asking in the most humble way heh...hope this isnt lengthy.i know about exposure,i know very well how still camera's operate.in still photography the combination of aperture/shutter speed determines exposure obviously and i assume the same with cinema...of course aperture determines DOF...when shooting of course i will usually set to aperture priority and whatever shutter needed (unless a specific effect is desired) set it on a tripod...exposure could be anywhere from 5 seconds to 1/500th....here is my question...can someone explain to me how shutter speeds work in cinema camera's?...i assume shooting a poorly lit interior you wouldnt do long exposures because there is a frame rate...at 24fps what is the slowest shutter speed possible?Would appriciate anyone who took the time to explain this to me.thank you

lance acord is a great photographer,lost in translation was a really good looking film.He does have a very natural way of lighting scenes,very basic it looks like (i could be wrong) if not hes doing a good job of hiding a complex setup and making it look natural.Adaptation was a great film and i really liked buffalo 66