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Alessandro Machi

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About Alessandro Machi

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    Chess, Baseball, Super-8 filmmaking, Video Editing, Caregiver for Parents, YouTube creator.

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  1. Any Production company with integrity should never make a P.A. choose between a minor car repair they suddenly need for their car versus having some spare cash for meals for a week. P.A.s are sometimes asked to pick up something or deliver something of value, it seems shortsighted to not supply a daily meal and crafts services so the money they saved from not buying meals for a couple of weeks might instead go for basic maintenance for their car, or to catch up on a smart phone bill.
  2. The smart production companies that can't afford to pay for a meal will have a really nice crafts services spread and somebody watching it over it at ALL Times to ensure flies are not getting into anything, the sun is not suddenly lighting up the craft services area, nor the wind suddenly disrupting the contents. The idea is crafts services works well at the beginning of the day, for drinks and snacks throughout the day, and then the last 4 hours of the 12 hour shoot in lieu of a second meal. So besides the one meal the crew is paying for themselves, the crew should be well supplied with drinks and decent snacks throughout the entire day. If there is no meal being provided, and no crafts services table, and the pay is really bad, but better than nothing, I would anonymously blast the company after the shoot is done on whatever sites rate production companies, for being so narcissistic.
  3. I cued this Barbara Bain link up to a specific spot for those who can appreciate lighting versus glamor lighting the lead actress.
  4. Hi Stacey. If you dad doesn't mind experimenting with unopened tape splice packages I would suggest doing a search on Ebay. Wurker tape splices, and see what comes up.
  5. Allan Daviau came to CSUN and spoke to a packed room of 250 film students in the mid 80s when he was in the midst of a very busy career. Very generous of him to do that.
  6. If you have to take into account what time of year it is and how far South or North the sun is. In the U.S., shadows get longer and the days get shorter during the winter, so the result tends to be more contrasty shots. Your filter cuts the light by about 2/3 of a stop, which is a good thing for most daylight shooting with 200T. Here's are some experiments you can try. With your camera set to auto exposure and the film cartridge in the camera, switch the filter setting in and out while looking through the viewfinder to see if the f-stop setting moves. If the f-stop moves, then you may have an internal 85 filter. However, it may be wise to not use the internal filter since it might be all grimy and faded. The next test would to place the 85 filter you purchased in front of the lens while in the auto setting and once again see if the f-stop moves and how much the f-stop moves as you move your filter in front of and out of the way of the lens. The f-stop should open up to let more light in, hopefully no more than one f-stop. As a general rule, you probably will be anywhere from f16 / 22 split down to f8.0 when shooting outdoors with 200T and an 85B filter on the camera. However, if there is no direct sunlight and one is shooting in a shadowy area, this could mean f 5.6. / f 8.0 If it were me, I would want to know how consistent the camera light meter is. It could be that the light meter is always off by one f-stop. You might find that zooming in to a medium close shot gives the most accurate reading or maybe wide angle, but up close to what is important produces the most accurate reading, then lock the meter off and get back to your position and shoot. If you want an overall less contrasty shot, just consider choosing between black, and white in the shot, but not both. This should instantly give you an extra one f-stop of latitude.
  7. Your point is valid, why is that lever there? If you feel brave enough, run the camera and gently turn the lever and listen to see if it the lever creates a mechanical sound. Also see if it affects the auto light meter in any way. I am going to guess it might somehow be for manually changing the f-stop? Maybe a fader?
  8. I have some good news and some bad news for you. The Good News is you have what is probably a one of a kind after market add on. And the Bad news is, you have what is probably a one of a kind after market add on.
  9. Huh. I thought seeing it would jar my memory. I have one somewhere, I guess I need to hold it in my hands to remember.
  10. I have kept Super-8mm.net and Super-8mm.com up and running for the past 15 years. However, I was ambushed one day by the host site who said my sites would only be read only for security purposes even though I had purchased the template from them. So it has stayed as is and the cost is spread out among other domains I have. I don't think I have ever made a penny from the site but I know it has connected the curious to some of the more well known players of the Super-8mm industry. It's 85 bucks for domain hosting and 12 bucks for the domain per year.
  11. It's all about perspective. That camera cost around 800.00 back in the mid 80's, adjusted for inflation today that Canon Camera would be worth 3,500 dollars. So you if you bought it for 500 bucks, spending 300 to 350 dollars to fix might not be that bad of an investment. Plus, once it is repaired by an actual Super-8 vendor, it pretty much means if you were to sell it, you may get serious buyers because you actually have proof you had work done on the camera. You may also advise Spectra that down the road you might want to put it on sale and perhaps Spectra gets a call from someone looking for that camera. Just trying to give you some additional ideas on why it may be worth paying someone who can possibly fix the camera.
  12. The film you had processed is Negative Film. It will need to be transferred to a video or digital file so that the Negative Image can be turned Positive.
  13. When one is shooting super-8mm in indoor low light situations, one may be able to get away with just using manual exposure and either keeping the f-stop wide open, or maybe stopping down to f 2.0 just to get a bit more overall sharpness. Another consideration, shoot at 18 frames per second, but with the normal shutter. Shooting at 24 is a good idea, but if one then uses the slower shutter speed that is going to induce more blur both if the camera is hand held and from the action within the frame. So here are two options to consider. 500T, 18FPS, f-stop 2.0, regular shutter. or, 500T, 24FPS. f-stop 1.4, slower shutter. Sometimes the slower shutter speed can induce a strobing effect, especially at 24FPS. If the camera was showing an end of film message it could mean that the motor was bogging down. Always use fresh batteries. I once got something like 20 to 30 rolls of film on one batch of lithium double A batteries.
  14. Spectra Film and Video may have experience with repairing these cameras. Wasn't it difficult to take apart the camera? I recall visiting with a technician who explained that there are dozens of soldier points that have to be unsoldered to get the camera open so one can analyze the circuit board and such.
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