Adrian Sierkowski

Personally, I'd take a CRT over a LCD monitor anyday. Also, I'd suggest getting it from a real company, like BHphoto up in New York as opposed to ebay. Like the camera itself, the monitor is an investment, and you'll want to get as high a quality as you can. Look for a CRT with at least 525 horizontal scan lines. I recommend either a Sony or a JVC. The smaller sonys, like the 9" can also be battery powered, and you also have to make sure that the monitor you go with has the proper input for the output on the video tap. For professional video this is normally a BNC cable.

Both the XL2 and the DVX are amazing questions. IIRC the XL2 has interchangeable lenses whereas the DVX does now. however, you can get a DVX Andromeda for $6500 which will give you all kinds of "HD" capabilities. Personally, I don't like the Canon overall, as I don't like Canons; a personal preference. But, I am also not fond of the DVX's body shape (can't shoulder mount it). As a student you will definitely want to find a camera which is both economical and, moreover, versatile. Talk with some of your professors as well, as I'm sure they'll be able to tell you what type of camera is best suited for your particular course of study (i.e. buying a video camera in a film intensive school probably wouldn't be the best of ideas) Best of luck and good shooting

I'd love to hear how this is done as well. Last time I had to do a flicker I was sitting on a 1K dimmer running to an Arri 650.

I didn't particularly find it to be a problem when I made up my last reel, nor did anyone I showed it to so I would say go for it. But it could be useful to keep clips with similar aspect rations together, ya know.

It's a warm night scene lit by candles only between a man and a woman in a bedroom. It's one of the few touching soft moments in the film before the man goes on a mild rampage because he thinks she's cheating on him.

Thanks for your prompt feedback. I'll surely shoot some tests with the two stocks you recommended.

Hey everyone, I recently shot some stills here on Kodak Elite Chrome 400ASA. It's a D film which I exposed under tungsten, giving it an amber/gold hue. A director i'm working with wants to recreate this look on S16mm color negative film as much in camera as possible. I was just wondering which, if any, color neg stock would best approximate this look. The scenes were lit with a DP light (1K bounced off of the ceiling) as well as practicle incandescents @ about 100-200W each.

Check for the Sekoinic L-358 (I think that's the model number). It's 'round 259 on bh's website. It has cine speeds. YOu set the ISO of the film (in this case 500), set it to the cine speed oyu're shooting at (normally 24fps), point the lumisphere (white thing) towards the camera lens from where the object you are filming is standing, and press the trigger button. iT will display a number of an Eu. The number is the Fstop to set your lens for. If it says EU it means you're under exposed/not enough light. add more light.

Personally, I am unimpressed with the HVX. It tends to fall apart in low light situations in a way that the DVX doesn't. Also, you have to ask whether or not you need all of the HD capabilities of an HVX. If you do not, then I would go with the DVX, which being an older camera has been put through more paces than the recently introduced HVX. You also have have to make sure the post workflow you are considering supports the camera you purchase.

As far as I know, the processing for Orwo stock is the same as Kodak's. The PDF Data sheet on the film can be found here

I have to admit I'm pretty happy with my 7/10. I missed the choreographed shot, the first use of xenons and the ACE process :D

Please e mail me and let me know the price for the full package, if still available. I am looking to buy a SRII package sometime in mid may. Also, do you have a maintenance record for it, what are the defects ect. E mail me at Crimson238@excite.com or Adrian.Sierkowski@temple.edu Best ~Adrian Sierkowski

Thank you for your very fast reply. I might wind up, in the end, going with the SRI if they really are that similar, and pocketing the 3K for a good set of lenses.

Dear Forum, I am planning to buy a Super 16 Arri SRII very soon from VisualProduct in ohio, with their B/w video tap installed as well. The package can be seen here: http://www.visualproducts.com/storeProduct...=17&Cat2=30 I just want to know if this is a good investment, starter package, from a reputable company. ALso, in your honest opinion, is the price worth what I'm getting. Best, ~Adrian

Thanks to both of you, this is exactly the type of thing I was looking for. Sorry for not being 100% clear, it was like 2 am. I think I'll shoot a test with the dir on the 5229, 8573 and 5218. Thanks to the both of you.

Hey everyone. I've been reading on here for a long time but never posted a question. I'm getting ready to shoot a short on S16mm and just wanted some ideas on the best stock to use. The director and I want to keep lighting to a minimum, and go for a dark, overall look. The shots are occurring in a city at night, so it will definitively be 500T film. The question is, of all the 500Ts, which has the best shadow detail? Which can best handle under-exposure. I have been looking at the curves, and leaning towards 7218, but I wanted some more feedback.

Maybe renting a generator would be a better idea. . . or a lot of stingers run to friendly neighbors. . .

A lot of the time, though, in film school, youll wind up with a good deal of financial aide. Myself, for example; I get a free federal ride through the programme. Just like findng a dela on Ebay, you can find a deal on an education if you know where to look and apply yourself to applying for scholarships. Plus, with a BA at least I have a chance in the job market if filmmaking falls through; as it probably will. But, in the end, it's a matter of personal taste. Some people like to go out on their own to learn, and others like to learn through direction of others who are learned. It's a matter of opinion. There is no "better" way, just people who find one way more palletable than the other.

Oh I intend to.

I'm going to go out on a limb and throw in my two cents. I'm in film school; I don't pay for it, yet, and it's a good program with a [mostly] well rounded theory and application cirriculum. And, it is great for networking. But, moreso than that; perhaps the best benefit of my film school [Temple University] is the equipment office. I can take a class, and use equipment and get 16MM stock and mini DV tapes and HDCams all for free. I can take them out whenever I want, so long as I'm in a production class and cleared for them [meaning I at one point passed a test on their workings] and do whatever I want with them. Nothing beats a free "rental." Aside from that, I harbor no dillusions about breaking into hollywood; I don't think I'd want to. Same goes for New York. Instead, I just want to learn so I can make films for me. If other people like them, well that's fine, but I know I'll hardly ever be able to pay my bills with my BA. [which isn't to say I don't work professionally, I Grip and PA a couple shows in Philadelphia, which is always nice.] But, you know, none of that matters to me because for the moment I have a fridge full of Kodak and Fuji, a cabiniet full of tape, a couple of lights, a Bolex, and a couple of lights. Life is grand and I can work out the whole notion of "cinematography" both in and out of school. Who knows, maybe I'll get lucky. And in the end, that's what it comes down to in filmmaking, a lot of luck, blood, sweat, and passion. Where and how you bleed and are passionate is mostly inconsequential.

Lighting has in general as much to do with the realities of the shooting situation as it does with the look you want. You just have to match up what you have with what you need and what you want to do. IMHO and all

All I've seen is the Demo-Reel for it from Sony, but that looks pretty good. I'm alittle curious myself about the whole "aquisition system" myself.