David W Scott

If you're shooting on an a-cam, and asking about building your own TC slate, I doubt this production has the budget to either rent a TC-jammable camera or a fancy TC audio deck. Let me suggest something much simpler and more accessible: Use a laptop for your on-set music playback. - Rip the CD to your laptop - Play the file back from your non-linear editing software or from an audio player - At the head of each shot, instead of slating with a TC slate, shoot the TC numbers off the laptop screen There are additional advantages to using a laptop for playback: - You can set markers, and easily jump around to different sections of the song - No waiting for the CD to cue - You always know that the starting point is accurate and consistent - It's EASY to do off-speed effects (like playing your music back at double-speed, and shooting overcranked at 48 fps, for that dreamy slo-mo look that stays in lip synch.) Or, don't sweat it. Even some professional music video director/editors just synch their footage by hand, with no TC at all.

You are correct. That bottom knob is a little cryptic, but works great. From left to right, the settings are: V10 +10: self timer, after 10 seconds, shoot for 10 seconds V10 +5: self timer, after 5 seconds, shoot for 10 seconds 0: normal shooting [1]: single frame [4]: four frame burst (approx 1/4 sec apart] 0.3 [1]: time lapse, single frame, every 1/3 second 1 [1]: time lapse, single frame, every 1 second 60 [1]: time lapse, single frame, every 60 seconds I love this camera. It is built very sturdily. It is heavy and well-assembled. Feels quite "weapons-grade", if you know what I mean. Also has automated cross disolves, fades, auto or manual exposure, and runs at 9, 18, 24 or 54 fps. (The 54 fps is a seperate button on top of the camera.) I also like that the camera is based on an integrated circuit controller (the MOS in the name refers to that chip, not to it being a noisy camera!) Aperture control and speed control are all electronic, with stepper motors driving the lens aperture. This is a very reliable way to build an all-electronic camera.

My first rolls shot with an external meter were also slightly underexposed. Did you compensate for the light loss of the reflex prism? I find I need a good 1/3 to 1/2 stop more than metered.

I agree - Plus-X is a beautiful stock. New or old. The word that comes to mind is... velvet. Nothing like the golfball-sized grains in Tri-X. Shooting Tri-X is like making an impressionist movie. Shooting Plus-X is making an Alex Colville movie.

The AGFA Movexoom 10 has nice time-lapse built in. Selectable at 1/3 of a second, 1 second, or 60 seconds. It also has a very good lens for the price. Here's an example: Movexoom 10 on EBay

If you are going to use the meter in your camera, then use a grey card with it. First determine if the internal meter is accurate (one test roll will tell you that.) The internal meter is handy -- you have a spotmeter built right into your camera. Don't leave the auto-exposure floating -- simply take your reading off the grey card, then lock the exposure. Now you can reframe and hold a steady, correct exposure. Hunt-and-seek exposure and spontaneous overcorrections are the fastest way to ruin reversal stock. Some things to watch for: you may get significantly different exposures depending on whether the zoom is set wide or telephoto. Using a grey card, watch the auto exposure setting at short, medium and long focal lengths. If the exposure changes much, you will have to account for that when you use manual exposure with your camera. If you meter using your camera at one focal length, lock the exposure (manual), and then change the focal length, your exposure will be off. When using a handheld meter, you will also have to account for focal lengths. Check against the internal meter to see how much compensation you should make when zoomed in. Other things to watch with an external meter -- many Super 8 cameras have non-standard shutter angles. (Especially XL i.e. "low light" models). Check the shutter speed of your camera against what the meter uses in cine-mode. -- Super 8 cameras usually use a prism for reflex viewing. These can steal up to 1/3 of the light from the film. You will need to check against the internal meter, and/or shoot a test to determine if you need to compensate on your meter readings. As for what meter I use: Sekonic Digi-Lite F (L-328). Cheap, accurate, light weight, sturdy. Can be switched between incident and spot (if you need). Smart battery gauge design. Uses standard AA battery. I wouldn't go back to an analog meter. The digital is so fast and accurate, mostly because I don't have to interpret the meter! :rolleyes:

My shooting style is very restrained -- no matter the camera, I like careful compositions on the sticks, and occasional dolly creeps. With that in mind... ...what are the dolly requirements for a camera as heavy as the BNCR (or XR 35)? Any dollies that simply won't handle that weight? Any recommendations for a good match between dolly and camera?

I had a Chinon eyepiece do the same thing. A soak and scrub with alcohol cleaned it off pretty well -- but the black rubber stained the silver plastic. I ended up staining the whole thing black so it didn't look so... odd. Your options for film are: Tri-X -- good for a camera test because it will definitely work, no fuss and muss. Ektachrome 64 -- will **probably** be read by the camera as 40ASA. That means it will overexpose the film by 2/3 of a stop. If your camera has manual exposure/aperture control, then do this: Aim the camera at your subject (a face or an 18% grey scale card will give the best results) and note what the exposure is set to. Then, switch the camera to manual exposure, and close the aperture by 2/3 of a stop. (i.e. if the camera read F5.6, then move the exposure 2/3 of the way towards F8.0) Good luck!

There was some really great gear released in S-VHS. Especially the last generations of ENG camera. On the other hand, I've never seen a Digital-8 that wasn't simply a consumer home-movie machine. Poor quality single CCDs, cheap lenses. Like comparing a Polaroid camera with a Nikon SLR. However, the Digital 8 format itself is bit-for-bit identical to DV. I'd be curious what kind of picture you get if you connect S-Video OUT of your ENG camera, IN to your Digital 8, using it simply as a recording deck. (Not playing back prerecorded tape from the ENG camera, actually just taking the live image and recording to the tethered Digital 8.) I suspect this combination would deliver the best of both worlds -- a good camera, and solid 4:1:1 DV recording. I know you're a fan of analog video... First-gen S-VHS can look quite nice, but it doesn't hold up in multiple generations. That's where you could gain some advantages from this technique. Good quality S-VHS ENG cameras are going for ridiculously low prices now. I think hanging a DV-Walkman or cheap DV camcorder on one of these cameras would make a lovely package!

Interesting to hear that you are an enthusiastic BNCR shooter. I have a copy of Dan Chamness' Film Budgeting and Script Breakdown book (1977) and he enthusiastically recommends the BNCR. At the time, rental prices were a fraction of modern camera packages, but the BNCR delivered the goods. I'd be curious to know if others think that this is still a reasonable option for low budget features. Obviously, a full crew is a must -- no MiniDV-style run and gun shooting. Can you find cheap rentals? Or only sales now? Who does good service work? What about lenses? Is it feasible to match lenses between a BNCR and a smaller MOS camera (IIB?) so that they will intercut?

Cinelab are very reasonably priced, the quality is fine. I like that they offer uncompressed to hard drive. As far as colour correcting in post -- I think that it makes more sense to colour correct during the transfer. You have the full gamut of colour captured on film, and can tweak to get exactly what you need. You can really push the envelope and still have a usuable image. Once you record that image to video, you are much more limited. Even uncompressed video still has limitations in how far you can push the image around. By that point, you can't dig deeper into the negative to find anything. If it wasn't transferred, it's not going to be there. I know that colour correcting BEFORE you post the film is counter-intuitive to film guys. When working with film, it makes sense to do the colour timing last, because you are still pulling the image from your original negative. But once you telecine, I think it's too late to really make a difference. Having a supervised telecine session is very gratifying, because you can have so much control over the look. The drawback to timing your transfers is that there is more material to grade. However... you usually can pick the look for each setup and then let the subsequent takes transfer without any tweaking. Cost is also an issue. The premium for supervised transfers can be prohibitive (I have paid $500/hr for a good Davinci/Rank session with a good colorist). I don't know what Cinelab would charge for a supervised session -- but it's probably less than that. For a Super 8 project, let me suggest an alternative to Rank transfers. (I know I'm likely to get flamed for this... but here goes.) Why not get a supervised transfer at a cheaper place like Justin Lovell's Frame Discreet? Frame Discreet pricelist Justin is running a modified Sniper setup. I have found his transfers are sharper and have better detail than older Rank transfers. He has real-time colour correction capabilities, and can work with you to get a look. I think that is KEY -- having the negative to work from, and being able to dig into it for colour correction before it hits any tape or hard drives. I also believe Justin was working towards doing uncompressed transfers (don't know if he's ready for that yet.) For $50/hr, you can't go wrong.

If you have a MiniDV camcorder and a computer, then get your Super 8 footage transferred to MiniDV. Use your camcorder to play back the tape, and edit with Windows Movie Maker (PC) or iMovie (MAC). This will be the simplest, fastest and best quality method to edit your Super 8 footage. Save yourself the headache of trying to edit material that has already been burned on a DVD. The quality is poor and it's a lot more work than using DV tape.

If you open the film door on the camera, you will probably find some numbers written inside, indicating what speed (ASA/ISO) of film will work with the automatic exposure of your camera. Many cameras only list two speeds: 40 and 160. Some cameras list most of the possible speeds: 40 64 100 160 250. If your camera lists 64, then you are in luck. Buy some Ekatchrome 64T. I understand it is available in Jessop's camera stores across the UK. If your camera is only good for 40 and 160, you will still be able to use Tri-X black and white film. Super 8 film of all kinds can be ordered directly from Kodak, or probably through Jessop's. For more info, check out these resources: Super 8 Wiki Kodak's Super 8 pages

Processed normally, because there's lots of latitude to pull it half a stop in the digital grade.

Is it available on DVD yet? I was waiting for it to hit the arthouse circuit in Toronto, but I think the Festival Cinemas closed before it could open here... :blink: The trailer did look very nice, however. Any info on stock/lenses/cameras/DP?

Larger grains are more light-sensitive. By increasing exposure slightly, you are exposing slightly smaller grains, decreasing the apparent size of grain overall. The other effect is to increase the density of the processed negative. Modern telecine/datacine will be able to properly capture this denser negative.

Cheapest way to do that is with a MiniDV camcorder, with a firewire cable. My Dad has bought a couple of good, used MiniDV camcorders at flea markets: one for $40 US, another for $60. I see new-refurbed MiniDV cams for $200 all the time. They work great as playback and record decks. Just make sure you get a camera with firewire (also known as iLink, DV, IEEE1394 -- depending on what the camera manufacturer called it.) Learning to cut is very valuable. The skills translate to ANY editing software or format. If you've got a Mac that's newer than 7 years old, then you've got firewire and iMovie. It's really all you need to learn the aesthetics of editing. You don't need Final Cut Pro and a kick-ass PowerMac to learn how to cut. If you've got a PC that's 700mhz+ then stick a firewire card in it, and use Windows Movie Maker. Total cost: $20. 10 years ago, the equipment to make even a rudimentary video edit was MEGABUCKS. Now it's basically free with most computers. :blink:

The original Fig Rig was DIY, AFAIK. There was an American Cinematographer article that described it's invention (by the key grip?) Manfrotto building a $300 "official version" was handy. But if that's too much money for you, check out how the original was done...

Standard projection practice is to apply the correct aspect ratio matte in the projector. It does leave you vulnerable, though -- I saw an incorrectly projected print of "Pretty Woman" with mics, booms and flags in the top of half the shots.

:lol: The old coffee-grinder in the shot trick! Almost as common as the dog-barking sound mix...

We should ask the cast and crew of Bamboozled -- I read some pretty funny stuff about the TRV900 looking lost mounted on the crane... but did it affect the crew's dedication? I suspect Spike Lee's name counts for more than Sony's. I think this is really a question of "industry support", not audience support. Audiences respond to many aspects of the visual image, but lighting, effects work, art design, etc. are more quantifiable to the average audience member. "Industry people" on the other hand, know that 35mm is the industry standard. From the intern PA to the studio head, nothing makes people comfortable like an industry standard. This is a crazy business, and people look for legitimation in things they understand. Like -- this must be a good show, because there's a Panavision sitting on the tripod. Ironically, that human preference for industry standards seems like the single greatest advantage of the Genesis or the D20 -- at a glance, they look like a Platinum or a 535, and they've got that magic ARRI or Panavision name.

How good is the 24F on the XL H1? How does it compare to true 24P? I love shooting with the DVX100 because of the true progressive image. The HVX200 seems like too much money for what will *probably* be a stop-gap camera with a short shelf life. The new small Canon's make more sense in the short run. The A1 is especially well priced.

This camera was built for AGFA by Minolta. It has a great reputation as a "prop" because it looks like a Star Trek phaser! Super 8 Wiki entry I don't think this camera has manual exposure -- and it's a 40/160 ASA model only. That kills it's usefullness with most stocks -- Tri-X is the only current stock that will expose properly. Of the AGFA cameras, the most highly-thought-of models are the Movexoom 6 MOS and 10 MOS. These were the successors to the 3000, and were actually built by AGFA. The Rokkor lenses (especially on the 10 MOS) are fantastic, the cameras are built well, and have many good solid-state electronic features. These cameras are also only 40/160 compatible, but have manual exposure, so you can use them with an external light meter. After much consideration, I ended up buying a very clean Movexoom 10 MOS on eBay, and I am very pleased with it.

Great camera, but won't read all ASA speeds. Here's a couple of lists to check when you are looking for cameras: Super 8 Wiki: Cameras that can and can't use Ektachrome 64 Kodak's list of cameras that don't like Ektachrome 64, but can be made to work SmallFormat magazine's review of winner and loser cameras for the new film stocks

I don't mean to cut in to your conversation here, but there's a lot of wisdom in what David says. I like your enthusiasm -- if that's all that mattered, I suspect you'd be shooting 65mm just to learn. But there are more economical ways to get to the same place. If you have to pay your own way to learn cinematography, allow me to suggest the following multi-pronged approach. - Learn 35mm by shooting stills with a cheap manual 35mm SLR and a simple incident light meter. Shoot slides (reversal) so that you have no safety net. If your exposure is off, there's no autolab printing machine that will correct for you. You can learn to work with the depth of field and focal lengths that you will be using in 35mm cinematography. (I know the frame sizes are slightly different.) - Learn motion picture film by shooting Super 8 with a good all-manual camera. Splurge and spend $100-$200 to get a camera with multiple frame rates, time lapse, etc. A good Super 8 camera offers features that are VERY expensive on 16mm cameras. Spend a few bucks more to get a decent projector, and then shoot reversal film. By projecting your own work, you can learn fast and save on telecine costs. If you've got something really good, then splurge and get a cheap RANK transfer at an indie-friendly place like CineLab. - Learn to shoot actors and sync sound with a cheap DV camera. Go fully manual -- apply the techniques you learned from 35mm and Super 8. I didn't pull these ideas out of the air -- film schools often take this approach. Once you've mastered these skills, and have a script that you DESPERATELY WANT TO MAKE, you'll be able to find some 16mm or 35mm gear for long enough to get your film made. If you are serious, have a plan, and have learned how to pull it off, people will back you. From Kodak on down the line.