Chris Burke

Exactly! Film is still the best storage medium going. It stores more info, quicker, cheaper than any other technology. It is photo chemical so there for, in the digitial realm, it would take a 4k res camera or bettter to truly match the image. Given that, the cost and hassle for storage of 4k plus imaging is staggering. Film still is the easiest and best. I go by the saying, "if it ain't broke, don't fix it". In terms of how many gigs, in HD terms, 11 minutes of uncompressed 10 bit footage shot at 24fps take about 87.72 gig. Super 16 is more in line with 2k imaging, so it would be even higher than that, probably a lot higher. I think around 300 gig. So film as a storage medium still wins out in terms of speed, cost per minute, flexiblity, longevity, archivability and so on and so on. I started out shooting digital and analogue video and have now gone all film. Film is an actual thing, not a collection of 1's and 0's exisisting in some virtual realm. When it comes to my art, I stick with the concrete, tried and true.

Hi, Does anyone know if there is a stand alone drive for the smaller DVD_RAM disks? The kind that are used in the Fostex PD-6. I am looking to transfer some audio recorded for my short film to my G5. A cheaper firewire one would be best. thanks chris

I am making a short on the Eterna 250T. The first batch of dailies are in and look fantastic. The only drawback I have noticed, and I really don't know if this is true, is that the "pitch perforation" isn't as good as Kodak. I am the director of the film, but the DP and AC told me this. we did get some strange sounds from the mag late on night, the AC said that it might be because of this. He also went on to say that with Kodak stocks, you can set your watch to them in terms of "pitch perforation". Also that the stock itself can be a bit softer than Kodak, I mean the actual film, not the look. So we had a film shaving in the gate on one shot, but only one. Other than that I think Fuji is great and really do Like the look. With a best light of our dailies, it did have a sort of blue green bias. This is minute and had a lot to do with our lighting, but it did remind me of Fuji still film. If we continue to have any problems with the stock, i will contact the Fuji rep, but the sound and film shaving was only once and could be attributed to the camera itself. I will post a few clips in a week or so to show you the look. Chris

If you are going to finish the film on SD or HD and not back out to film, have it telecined to hard drive as an uncompressed file. You will get very good color and can do a thorough color grade from that file. As whether to do a flat transfer or best light is debatable. A flat tk will give the colorist more room to play with the image. Bear in mind that working with uncompressed files requires a rather fast raid array. A high end monitor is alson required. So may I suggest that you take your hard drive to a post house for the final grade, they can do it quicker and easier. It may cost you the same money to set up your computer to do this as it would to go to a post house. Good luck. chris

no loss in quality from any DV format going over firewire. Are you going to edit it in SD or HD? HD does a great job of capturing more of the info on the negative. If you are really flush, go with a 2k scan. DVCAM tapes are great for an offline. that is what I am doing right now. with our finished cutl list we are going to rescan as uncompressed HD, 10 bit 4:4:4 color straight to hard drive. Then seek funding for a film print. How is your film going to be finished? On film or video? If video, go HD for the quality. chris

For a feature film, do not shoot 4:1. Unless your story has lots of voice over with B roll footage covering it, then I suppose it could work or it is a non conventional narrative where you can get away with a deadly low number like 4:1. But, if your film is a typical narrative with actors on location or on a set saying their lines, then you must shoot at least 6:1. Think about it, two takes of a wide master, two takes of a MCU of one actor and two of the other actor equals 6. this in itself is piss poor coverage, but with cracker jack acting, beautiful framing and lighting, no sound screw ups or anything else goign wrong, you can get away with 6:1. For your own sanity, plan on buying 200 + carts. Like Santo says, you can sell off what you don't use. Shop around for a deal through a lab. Lots of labs now offer stock, processing and telecine for a discount price. Do the work, take the time to find the best deal you can. Seeking a student discount is probably the best way to go. On average plan on spending $30 plus for one roll, that includes stock and processing. If you are buying 200 or more, I am sure a lab will cut you a deal, especially if you do it all (stock, processing, tk) with them. I got a deal via Cinelab on Super 16 that was too good to refuse, $180 per 400' (stock, processing, tk). they will even do better than that with volume and are starting to sell Super 8 as well. Get the best telecine you can afford. Straight to hard drive as uncompressed seems to be it these days. Do not use the method of actors lip syncing their own performance on set, this is insane. You simply will not get the results that are acceptable. It will be a sync nightmare. Most all beginning or green film makers make the mistake of neglecting sound, bad audio will kill you movie. Really good audio with less than par picture can and often does work quite well. If all this seem like too much for you, then perhaps you are not ready yet. I suggest that you shoot a small scene or a trailer for your movie. Shop that around and get interest and funds to do it right. Not doing as I have advised is simply not worth the money and effort you will have to put out. I hope I have not discouraged you. I only want to help you avoid the ulcer that you would get from your suggested plan. I am envious. I really want to do a super 8 film and probably will this year, although it will be a short. I wish you the best. Chris

the house looks like it is from Pioneer Village in Salem, MA. But I am not sure. Where did the shoot take place/ chris

Isn't 2-perf already super 35?

What "Stigma" is that? Articulation refers to the extreme manuverability of the joints in the vehicle. Judging from the video, which I think could be Super 8, the truck is very flexible. At least as far as the wheels are concerned. So the said video is showing off it's articulation. Have you ever seen a front loader that has a big hinge in the middle, where the vehicle turns by moving this joint? A vehicle that turns that way is called an articulator.

How is that Zenitar at say ?5.6? The contrast, sharpness? Also, how did it perform with different stocks? Please give examples if you can. chris

Were you involved with this? What kind of monitor was used when the pulled the key? I would like to start doing this for my own interests at home and was wondering what would be the type of monitor I should use. chris

Brant, first let me say what a great piece you shot, I loved it. Was that you playing guitar? So that is Kodachrome, it looks like it. They both do have their place, that is true. You should rent the best of each format before you buy. A descent Super 16 rental can run you some change, but mabye you could find a A-Minima to rent or ask someone on a super 16 shoot to let you shoot something during lunch. Really good, sync sound Super 8 rigs for rental are becoming more common. Duall, Pro8mm, Spectra to name a few. Probably much much more. Super 16 has more of a chance at making you money on HD gigs. The super 8 is cheaper over all, but not as sharp as the Super 16. A really nice, beaulieu 4008 or better, with a zeis prime on it shooting 7217, looks really really good, but it won't blow up as well at the 16. 1200 buys you a really good Super 8 sync camera. Very small and mobile, just as much as any DV cam. The possibilities are endless. In any case, have fun. Chris I own Super 8: Nizo 6080 with the gate punched out to 1.58:1 approx. Yashica Super Electric 40E, Sanyo Super lxl 255 macro, a K-3 Super 16

I just spoke to someone on the other end of the phone line, he told me that the website is down, but they do still do overhauls and such. It seemed as if they were getting out of the whole k-3 thing. It also seemed as if the website will never go back up. This is what I found out. Hope it helps.

Is the camera regular 16? Also, can you please post any clips, when you get them back? last question, given that the camera only take 100' daylight spools and is wind up, do you think that it was worth it all? I have a Super 16 K-3 and can only see investing in lenses.

Kieran, I highly recommend you test. If you don't have the money in the budget for even a 100' test, then ask the place you will be renting from, if you could do the test at their shop for free. I am about to do this very thing, where we can not afford to rent a camera for an extra weekend. My DP is very good friends with the camera shop and they are allowing us to shoot a small test right at the shop, gratis. Loads of rental places are more willing to go the extra mile for the small time filmmaker, just ask. Also keep in mind that when you rent from a reputable company, use no other, you have the assurance that if something goes reallly wrong with any of their equipment, it is replaced immediatley, no questions asked.

Possibly, but you will be facing an up hill battle if you have a great movie, that has not so interesting looking actors in it. If you want your movie to appeal to a huge audience,then you really should have an actor that is easy on the eye. What exactly do you mean you hate it when a low budget movie tries to look big? Do you mean, big as in good? Just what is wrong with someone wanting to look good or wanting their art to look good? Can you really fault someone for that? Don't confuse looking good with looking insincere. Many are guilty of the later. . I do agree with you on the fact that few films take enough risks or just don't have the balls to.

That would make sense since the camera has much higher resolution than any DV camera. Just curious what the film out cost at Postworks?

Or a Shadow, I admit a Spirit is better, but a Shadow ain't too shabby. Include it in your search. Chris

what is the going rate in London for an SR2 rental? I am just going into production on a S16 short and found it much cheaper to shoot s16 rather than HD. In answer to the posters question, yes it is possible and done all often, to have a color assist added. Jurgens or CEI are the common ones. They do add a good deal to the cost. If you don't mind the b&w tap, then go with that or not at all if you are really trying to save. :rolleyes:

I second that response. If for the internet, save your money and buy a single chip mini DV camcorder. Friends of mine produce and shoot a web show www.starvinwithlouis.com with a single chip sony. I think the camera cost $500 US. Check out there website and see the quality. I think that it is more than adequate. HD would be overkill. Good luck Chris :rolleyes:

What flavor of HD are you shooting? If HDCAM, then you will need to invest in a rather expensive RAID array. I recommend checking out Macgurus.com for very affordable SATA II raid solutions. If you are shooting and editing in DVCPro HD, then a simpler hard drive solution is for you. Technically, check the Apple website for more info, off the shelf SATA drives are enough for DVCProHD. You would not have to do proxy files, you can edit in the native format. In any case, cutting uncompressed HD at home is for the very brave. Yes the hard drive requirements are getting cheaper and more accessible, but how about the monitoring, color correction? All this adds up and is very expensive. In the end, the simplest way is best. Go with DVCPro HD, it is much easier to use and not a bad offline format for film.

Both have a good deal of exposure latitude. The 7231 is an 80 ASA stock, so will take a good deal more light to get a good exposure indoors. Try reposting on the stock and processing forum for much more feedback.

An uncompressed 10 bit 1920 x 1080 file, running at 23.98 is 478.05 gig per hour. Other than a 2k scan this is as good as it is going to get. I recommend that you get your film transfered at this res and then you can down res it to DVCPRo HD to edit with. The DVCPro HD as you probably well know, doesn't require a RAID to work with. The uncompressed HD will. As stated before, a eight drive RAID of SATA II running in RAID 5 will do it. RAID 0 ,of course will work, but you have no parity in case of drive failure. SATA II has enought speed with an 8 drive RAID to get uncompressed HD on RAID 5. Hope this helps. Good luck

What about firewire 800? or SATA II? SATA II is probably the best choice, ie.. largest drives with good speed and resonable price. But then again, the post house has to have a SATA hook up.

I would lilke to see more Super 8 printing available in the states. I know that digital projection and Super 8 go rather well together. I just think that Super 8 prints could do rather well at festivals, a niche if you would. chris