Adrian Sierkowski

Well, I don't know if it does call for film. I would say, by and large it is shot more on film than on video/hd. But, take this for an example: A lot of people, myself included, have described the look of HD as "plastic," almost. So, say you have a film wherein the main character is in essence the mask of a human being, a shell, or the whole world is a sham, cheap, yet, at a quick glance, pleasing. This would perhaps be a good place to employ video/hd for aesthetics. However, say you were shooting a gritty and dirty piece where you wanted an "organic" look and feeling. In such a case, film, super 16mm in my opinion, would be a very viable option as often the film look is described as organic. A short i just finished (originally) was going to use this look. Mixing an HVX with S16 betweeen a night-time world of crime, and a happy-go-lucky world of a comic book store (main char decides to become a vigilante hero by night). We wanted the "look" of HD for the comic store where things would be mostly flat, but very colorful (i think, often HD is oversaturated) but a grainy world for the night shots, hence 7218 with minimal lighting and lots of darkness. In the end, the script was rewritten and we opted for all S16 (7218/7205) and it became a "comedy," which wasn't too funny in the end. The main issue in terms of cinema and art is that for a long time the standards to which productions had to meet dictated only film; as most other formats were not up to par. However, due to the explosion of technology, this is no longer the case. Another example is Battlestar Galactaga where the miniseries was film ,and then they changed over to HD, for the look of it. I forget what the DP said, exactly, but it waqs something about crushing/blowing highlights lowlights for the look.

I think this should be a style choice not a budget choice. If the film calls for a "videoish" look, go HD. For a film look go film. That being said, i err towards film as its universal and you can use a lot of different gear. Personally, i'm not a fanof the HVX. that's just me though. Sadly, a lot of things I'm being called on are HVX/DVX shoots. Ahh forf want of a F900!

Normally works. I recall having had one DVD give me a strange "pulsation," but that's normally due to a VCR in the chain to my TV (VHS). The DVD, from what I can see, or moreover the player, just reads the camera as another TV. Now; this may not work with all cameras or DVD players, but for myself it hasn't been an issue (as of yet aside from that one time) Give it a try, i mean, you've only got to loose say, 5 minutes of life.

$800 for two? Or are you missing a 0!

IM pretty sure iMovie can't handle the .vob files or m2v. You'll have to get it into an older version of an MPEG overall. If you have a little miniDV camera at home, try running your DVD player into it, putting the camera into VCR mode, and then play and record! Then just connect via firewire, and capture from there.

I normally rate the 200 around a 250~320 depending on the scene (320 for most lit ints/exts and 250 (sometimes lower) for night shooting depending how much black there is in there.

I saw a shoulder bag on filmtools for like $50 (http://www.filmtools.com/camera-comfort-cushion-com.html), basically a beanbag you strap on, but should conform the bottom of a camera to the shape of your shoulder on the cheap. Visual products also offers a ken hill rig which I use on my SR3 from time to time; should probably work for a BL too.

I would assume talking about budget might be a good idea. As for the FX stuff, you might want to try phrasing it such as "which is easier for you guys to composite, x or y" Just my two cents.

I'm really looking forward to seeing the '19 stuff. Good luck @ Telecine.

From what i've been told; that's all you do. Though, depending on the size of the file as well as the speed you're looking @ it on, that "quick" may be more like a "marginally not long enough for grass to grow"

So, I tried the search function and i pulled up the brochure etc for the new Davinci Resolve system. I want to get a feel for it; what is it capable of in comparison to say, comeing directly off of a Spirit 2K with a Davinci on it. I ask because i'll have some DVCPROHD100 Footage that we'll we wanting to grade soon for a music video. The director wants to know if the thing will export in real time, so in part i'm asking that, but moreover I want to hear and experiences or advice you have on the system. Anything that you think might be helpful would be great to hear. Best, ~Adrian

Most 16mm mags are pretty easy to load. I think I learned how to load an arri mag in about 5 minutes. Granted, i'm still working on mastery; but it's not too big of a deal.

That's definitely a really cool effect from the film-crumpling; though I dunno if I'd ever have the. . . gusto. . to try it!

I am a [by]product of the text message revolution!

I use blip.tv for my reel because it'll keep a linke directly to the QT compressed version of your reel, al'la my signature as well as create out an embeddable swf player (though at lower quality). It's best to have your own website (though you could still embed the qt file from elsewhere to save on bandwidth/disk space) but currently, I am sans site. You could get a .mac account if you own a mac, sadly i'm a PC person.

AFAIK Sustaining Members donate $50 to the forum which gives them such a marker for life. It also allows larger file uploads and more time to edit posts as well as a bigger inbox.

This has been discussed many times, if you do a search it should pop up. IIRC it's safe up to around 800ASA through the carry on baggage check, but, if possible try to get a hand inspection! the effects will accumulate over time to try to limit it's exposure through. I have passed 500T '18 through the carry on baggage machine at philadelphia int airport and it came out fine to my eyes, but that's not to say this will always be the case. Also, check with Kodak or Fuji, they'll have more information and are only a phone call away

not to mention BH's used department.

I think I actually might've perused some of those rants. I try to read just about everything posted on here (the fun joy of working in tech support. . .lots of time on a computer. . . )

Short Sr thesis film for Temple Univ. Gonna edit down to 'round 15~20 min. But, I know at least here in phila, a bunch of the schools really push to keep S16mm in production. I know I love it (enough to buy a camera for it!) lol.

I most definitely will stick up some frame grabs/video as soon as the editor digitizes the stuff. Probably sometime next week.

I don't see how it would be any different than a normal sequence. You just add in audio playback, and record the on set audio somewhere to help with syncing later on With a K3 you're in trouble because it's non sync. Why not just pick up an older ACL or NPR that's been S16mm switched. There's even a S16mm bolex for sale here which would probably save a lot of headaches later on Also, on a K3, you're limited to 100ft loads, not exactly the best for a feature unless you plan on having not a single shot more than 20 seconds (wind time) and want to change loads exceedingly often.

Chase, Questions looking at the hydraulic car scene: what stock? and also did you do the scratches in camera or in post? I'm just curious because it's so saturated and grainy!

On this same topic; I'm just curious if anyone has ever come across an Nikon AI to PL mount adapter? I have a few nikon Lenses I'd love to use on my SR3

I started when I was 10 working with my dad before he passes doing local shoots, commercial/industrial/studio, mostly on video and some on film here and again. Then I went to film school, which I finished (BA Temple University, this year) and I'm finishing a BA in Anthropology. it's really only a question you can answer for you. Both have benefits and drawbacks. If you can combine the two, IMHO, you're probably set. One thing I can say about this industry is that I don't feel it really matters how you get there, so long as oyu have the integrity, talent, and professionalism to utilize your contact base, which you'll accumulate in either route, and consistently produce improved work. It's a long hard road, though. I only this year, only this month, got a pay gig as a DP. Even then, it's $200 for a weekend and I'm bringing my own lights; but it's a start, and a rap video I'm really looking forward to (though shuddering at the thought of the HVX). Work hard in whichever way you choose and it will pay off you for. Keep your head up. Keep learning and asking questions. Help people when you can and offer advice/insight when you think it's appropriate (i.e. not on set if you're a PA). I think you have to prostitute yourself a bit no matter what you do. And for awhile you might really dislike or be bored by what you're working on. NEVER let that change your positive attitude or suck your energy. Now, sit back and think, which route might be best for you? Do you work well in an academic structure or do you like hands on learning or learning by watching/emulating what others do? Think it over for a bit.