Alessandro Machi

One more thing, not about the Super-8. Whenever you can place your subject further away from the background, the more it can separate them from the background focally. Separation is usually a good thing. I don't know the area you had to work with, but if you had room to back up and also have your talent move forward an equal amount, the background gets thrown slightly out of focus and puts more emphasis on the singer. However, you may been at too high of an f-stop and maybe did not have the room to move back. Plus, backing up extends the height and width of what is in the background which can pose additional framing issues.

There is one spot where I recall she was slightly out of sync. Worth fixing if you can but not a deal breaker, and I really liked the flash frames and end of fllm rollouts.

Wow Anthony, this looks amazing. What was your f-stop? The reason I ask is it appears you gained sharpness without gaining grain by using the 500 instead of the 50 or 200. If I were to offer any input it would be that her skin came out a tad pale and probably would have more color if you pulled down the white levels. I assume the white levels are around 100 percent. If you pull them down to 60 to 70% her skin will probably gain color. If that causes the blacks to go blacker, just lift the set-up a tiny bit (baseline black level). If you do another one of these, it would be fun to create a short story before the filming starts. Girl knocks on your door and wants you to do a video in your basement. You look at her like she's crazy. She shows you a flyer, the street address is correct but its for another state. You point this out to her and she starts crying and you say you'll help her anyways. Then you both go downstairs and you pull out a dusty box and start going through it. (cut to girl getting worried). After some grunting and noises you pull out two of your super-8 cameras and blow the dust off of them. Cut to one more shot of the camera set up (probably have to be shot in video, ha ha), then start your video. After the video is over we see the cameras being put back into their dusty box.

Has the camera operated previously for you?

This is the tenth posting you've done in the past hour. Was curious if you came up with the ten best idea and then put them in a set of 10 topic posts.

Probably someone who doesn't know better.

The canon 1014-xls won't be the ideal camera IF you are trying to capture time-exposure for the nighttime portion. I would go with the 500 ASA film so you get more bang for your night time buck, the camera can handle 500 ASA during the day by stopping down to almost f-45. However, you might get a decent result with the 50 ASA film by going with the slower shutter speed setting.

I went to great lengths to have back up when I was doing work for other people. Why not own 3 Canon's instead of one?

Why not use either a digital still camera or 35mm still camera and experiment with different time-exposure lengths, than recreate it with your super-8 camera using the time-exposure option?

So what makes a DSLR an HD Image instead of a hi rez digital image? I assume it's a spec? Is a Nikon D-60 considered an HD DSLR? Would a client refuse work done with a Nikon D-60 if they are wanting HD?

I'd create a short story idea and rent each camera for the project. Then decide which one fits your needs better.

A lot of awesome stuff. Excellent location used at the perfect time of the year, a super-8 haven with the reduced contrast from overcast skies and fallen leaves. When I saw the wooden sticks I was a bit taken aback, I would have preferred those colorful swim noodles kids use in pools. But then your storyline apparently is play games don't hit each other with wooden sticks which would explain the wood sticks in the opening scene. Last shot could have been from far away, but suddenly races towards the kids to reveal their legs more playing with a ball, something that got hidden because of the hilliness of the shot.

The silly aspect of this is a direct bootlegging of the live broadcast does not hurt anyone because all the commercials are piped through. This actually helps keep the advertising buys at a higher price which is essential with all the channel surfing that goes on when a commercial comes on. What I think is the issue is these sites actually insert ADDITIONAL commercials on top of the image, including ads to adult sites, and someone is making some dough off of that, that is what is probably concerning the police.

I would suggest anyone who grew up using "Hardware" technology versus software based technology completely understands your point. When I view your question in a strict media bubble, it becomes easier to answer with "why not" since there is always a new wave of spenders who want to jump in and purchase the best product possible. Probably the mindset is "if they keep making media better, what's wrong with that?" However, if we view everything on an even keel, then I would ask, why the heck is anything more important than putting as much of our research resources into the creation of viable renewable energy that would reduce the world's thirst for petroleum and natural gas and probably eliminate at least some of the need for war over gas routes and petroleum drilling. By attending new media hype conferences and such, are we inadvertently obfuscating attention away from the importance of renewable energy research which I think is the number one issue if the goal is to prevent a massive drop off in human sustainability at some point in the relatively near future. Or, is there no correlation? Here's another example to consider. In California there is a huge central valley drought going on. Rather than spend a hundred billion dollars shoring up water conservation so that whenever it rains a portion of that water can be preserved, our politicians just approved a bullet train to go from Southern California through Central California and eventually SF area for that same 100 billion dollars. What I personally don't like about all the constant media "upgrading" is that some meda stuff already made may not even work correctly, reliably, but worst of all, is obsoleted even if we are happy with it as new platforms are being created to top the one that sucked a lot of money out of the economy and never got up to speed. I would suggest that media technology should be time framed. The media would have to have a viable shelf life of 5 years before a new media technology can replace it, and that support should continue for the prior media structure for another five years. This would allow anyone buying in to have a viable 10 year product run before buying into something newer and better.

Back in the analog days, I would let the background light sources you describe go to whatever they would go to, then clip them in edit via the Panasonic MX-50 digital switcher (for videotape sources). I got very good results that way. In your situation, I think it more important to reduce contrast and make sure no blacks are crushed, then clip the bright levels afterwards when editing while maintaining the uncrushed black levels above zero IRE.

I found a link about advertising on this site per month and one of the perks is being allowed to do occasional commercial topics as well.

I would suggest asking what it costs to put an ad on the right side of the screen for one month and see if you get a response.

Price lists can easily become a source of trouble for digital media equipment manufacturers, as can what name is chosen every time a new model comes out. Back in the mid late 90's Avid jumped their NLE model numbers from the 20's to the 70's and over night the "value" of the 20 models dropped remarkably. If you analyze pricing for a moment, you may realize that the price of the new gear just doesn't matter. If the new gear is priced similarly to the model it is replacing, than the new gear may be desired by all because its the same price, but the latest technology. If the new gear is noticeably more expensive, than people may assume it must be a lot better than the previous version and renters and people who hire D.P.'s may insist on the newest, best gear, dropping the rental value of the prior generation of camera significantly. I don't know if these rules apply to film equipment as much since the medium of 35mm is the actual star probably more so than the actual film camera.

I find I can get ok results when I start with SD and stay SD, so I am presuming equivalent or better if I start with HD, no? It's mainly for youtube.

Any suggestions for a consumer HD camera that has analog video outputs, preferably S-VHS. Just want to get a bit more life out of my betacam sp edit set-up.

When you talk about an ex camera rental, I think of three separate issues (of course they are other issues as well), 1. How well the power / motor works (no micro breaks along the boards or wires that could cause intermittency issues) 2. The movement itself, is there any sideways weave. 3. The actual structural integrity of the camera body and how well accessories attach to it. I would like to know the last 3 or 4 projects the camera was used on before being retired or put up for sale, see an actual film test from the past week or two, and who would actually be the person servicing the camera whenever it needs maintenance. If you find out who would be servicing the camera when it needs maintenance, i wonder if they might have insight into that particular camera, allowing you to start at the end and work yourselves backwards.

Variety has a pretty in depth article about this tragedy. Apparently when the train hit the bed that could not be removed in time from the Train Trestle (train bridge), the collision with the train created wooden shrapnel that hit several of the crew that was running to escape from the trestle.

For future reference, there is a very compact NIzo camera with a 6 to 1 lens on it, I recall it was barely bigger than the size of a film cartridge. Here is a link to some compact Nizo's for sale. If it were me, I would want a black camera so when I held it up to shoot I did not draw attention to myselft he way a silver camera would.

Are these cameras format agnostic in terms of what they record to? What are the recording options? Anybody recording to the Sony professional HD tape formats?

The Vimeo image plays fine here, because it is a very small image I presume. When I clicked on full screen, it turned into a still frame music video, one frame per cut on average. Ever considering viewing your footage on a CRT as well?