Stuart McCammon

Or, you could just telecine to Digibeta, edit in Digibeta and submit to festivals in Digibeta - I always follow the KISS principle whenever I can)

Capt. Video, One route you forgot was mine: 1) Graduate with a degree in Drama, and after an "Oh crud!" moment realizing actors make no money, decide to get into production 2) Score your first PA job through your accountant's son, who doesn't hire you but refers you to a few production companies 3) Build that into producing TV commercials (tiny 35mm films) Also, I just met somebody who dropped $30,000 on a first film (instead of film school) that has major problems in post because of screwups made while shooting, doesn't have the $ to finish his film, and doesn't know what an Arri SR2 is. In the end, I think any path will do, but film school produces a more consistent product - YMMV)

All I can offer up is a 1959 American Cinematographer article by Franz Planer on shooting color film to look like black & white - good luck finding the article - he shot the opening of Breakfast at Tiffany's in that style - I am sure you could colorize B&W film digitally, but it might be a bit of a pain, gl)

Title says it all - my battery contacts are corroded - please help)

If anyone has any information on how Breakfast at Tiffany's was shot, it would be most appreciated. Going to look up the 1959 American Cinematographer article on shooting black & white in color, but what really blew me away were closeups of Audrey Hepburn where her jewelry sparkles (bellows?), shot composition (lots of shots through objects) and the color composition of many scenes - would love to read any resources on the cinematography and production design of this movie, and am having trouble finding them. Thanks in advance) Stu

www.integratedphoto.com

Actually, the serious filmmaker uses a blimped Super 35 camera with dual-pin registration and shoots through Zeiss primes, an Angieneux 10-1 and ground glass filters lol) However, if you like the "run what you brung" aspect of Super 8, it seems like an interesting challenge to see how good of an image you can squeeze out of a thrift store camera - that's why I am doing it, anyway. YMMV)

This is a nice page with some real-world experience to share on that topic: http://www.city-net.com/~fodder/s8mm/camtest.html That said, I went and bought a Canon 1014E - its your dime pal)

I am glad to see you still involved in film) Stu McCammon

So Allesandro, did you happen to be a P.A. at Filmfair back in like 1984 by any chance?

Guess it would help if I posted the right link) http://www.kenstone.net/fcp_homepage/chrom...n_nattress.html

I found a great article that doesn't have anything to do with Super 8, but does a nice job of exposing the price one pays for digital compression of any flavor: http://www.cinematography.com/forum2004/in...0ff2cad1ed0469e Looks like it is Digibeta for this boy) Stu