Timothy David Orme

Looks like a great location. Definitely not some standard bakery. It seems to have a lot of character in itself. I'm looking forward to seeing some screen grabs. What camera are you using?

I have 22 left over rolls of Kodak Vision 2 7217 super 8 film left over from a shoot and I am willing to part with it at a good price. All of the film has been stored properly and has prepaid processing at Alpha Cine Labs in Seattle. Of course, if you don't want to have it processed there, you don't have to. If you're interested, shoot me an email at timorme@gmail.com Thanks!

Thanks for the help everybody. I'm planning on doing most of the film in super8mm, so it would make sense to shoot the cards in that also, in order to keep the look consistent. I can use the scanned images for some of the images I have in the background and I may need the paning and zooming on those. Sweet.

Are there any other programs that will do that? I have a Mac and don't have after effects.

I posted this in "Editing" but I'm not sure that's the right place for it. Here goes in General: I'm currently editing an experimental documentary film and have a quick question for the forum One of the things I'd like to get on the screen is a postcard. I'd like to move around the image, zoom, pan, etc. I was wondering what's the best way to get a decent quality copy on the screen? Part of the problem comes with the fact that they're so small I've scanned some of the postcards now, but I'm wondering if it would be better to shoot them with a camera, or take a still photo of them with a digital camera. I know if I shot it with a camera I could do the zooms and pans myself, but is there a way to do that in FC? Let me know if you have any ideas, or how you might do it. Ah yes. And I'm not concerned if the quality of the picture is 100% clear (a little grain or grittiness is fine), just as long as it's not gritty enough to be distracting.

I'm currently editing an experimental documentary film and have a quick question for the forum One of the things I'd like to get on the screen is a postcard. I'd like to move around the image, zoom, pan, etc. I was wondering what's the best way to get a decent quality copy on the screen? Part of the problem comes with the fact that they're so small I've scanned some of the postcards now, but I'm wondering if it would be better to shoot them with a camera, or take a still photo of them with a digital camera. I know if I shot it with a camera I could do the zooms and pans myself, but is there a way to do that in FC? Let me know if you have any ideas, or how you might do it. Ah yes. And I'm not concerned if the quality of the picture is 100% clear (a little grain or grittiness is fine), just as long as it's not gritty enough to be distracting.

You know, I saw BLACK SNAKE MOAN, and I really liked those shots, so that's a lot of what I'm looking for. Thanks for your input. On quite a few shoots I've had to contact the PD to inform them I'm shooting, but I've yet to have to contact them and request any help. Do they normally charge for their services or is this something they consider part of their 'duties?' I guess that could depend on the city though, huh...

Thanks everybody. Sounds like it's not as difficult of a shot as I thought. We'll make it work. Although I'm guessing it's not legal to drive a golf cart down the road...

Did you do anything to stabilize the camera so it wouldn't bounce around? That's the only thing I'm worried about. Thanks.

For the next movie I'm shooting, I'm going to need the shot of two people riding a bike down the street. I'd like to get a smooth shot of that as taken from a car in front of them. But, I dont' know how to get that shot. Do I mount a car mount to the back of the car and shoot it that way? What other options do I have?

I don't see it on ebay anymore. Did you find a buyer?

Yeah, I understand that, but I am trying to learn as much as I can about cinematography also, so I have a better vocabulary to speak with my DP. So, I have some 2 1k and 2 2k Mole Fresnels. Would those need to be daylight corrected? I assumed they'd be fine (because it's at night), but I can see how moonlight or whatever available lgiht there is (the exterior door light, for example) could have a slight blue tint.

You know, I always type reversal for some reason beecause I guess that's what I've dealt with in the past. Yes, we will be shooting color negative. Would we need that might light that we wouldn't be able to shoot something slower than 500ASA? I was hoping we wouldn't have toooo much grain.

Well, I haven't hired a DP yet. :) So, I'm shooting a short that takes place outside on a porch. I'm going to shoot color reversal, 16mm (cp-16r). As far as the look goes, I'm not looking for anything particular. Just a basic, smooth look. If the footage looks nice, I'd like to transfer HD

I'm doing an entire short film that takes place at night. I was wondering what lens filters I'm going to need to provide my DP with, if any.

So, this leads me to a question I've been avoiding for a long time because I'm either a) an independent film maker, or B) cheap: What insurance is best to get to provide a film/film company with full coverage for actors, crew, equipment? Also, I wonder what companies insure such a thing. Do most people/production companies get insurance on a per film basis or a yearly basis?

You know, I've been debating whether or not I should get a 50mm or a 15-150 Ang. zoom for a while now and I think I've kind of decided I don't really need a zoom much anyways, so a 50mm would be better. The 300mm might be a fun idea though, also. You know, one thing I've been curious about is filter size. Not all these lenses are the same and I was wondering how it affeects the filters to go up or down with an adapter ring. Is this a bad idea? Is it better to go one way than the other?

Hm...what's the advantag of getting a 300mm lens? I know they make one with a CP mount. I was also thinking about getting a 50mm, but I haven't decided on the zoom or not yet.

Nobody has any advice?

I have, for about the past year, slowly been putting together a CP-16R package I hope to be able to use for many different things. I'm not a cinematographer myself, I'm a director, so I'm more looking for help here to make sure I have everything I need when I hire a cinematographer. Here's where I currently stand. I have the camera body, 2 magazines, a basic set of primes (Ultra T super speeds: 9mm, 12.5mm, 16mm, and 25mm), and a case. The next items on the list are: a few batteries, a matte box, and filters. The batteries and mattebox aren't going to be too dificult, but I have a few question on filters. Namely, are there any other filters I need aside from what I have on my list: NDs, Polarizer, UV, FL? Also, I was wondering if there is a specific brand I should get (if one maybe prevents vignetting more than another). I was also wondering if certain filters work better on the matte box (4x4) or as screw ons, or what cinematographers generally prefer to have on hand. Any help is always appreciated.

Check out www.dvxuser.com. There's an entire forum devoted to HVX footage and frame grabs.

Well, does it work? What does it come with? What's the overall condition? Why are you selling it?

So it's best to go from a negative to a regularly exposed print and then to telecine, instead of straight from negative to telecine?

Okay, and if you go from that 1/3 or 2/3 overexposure to telecine, do you have the telecine lab compensate for it or do you do it some other way?

So, that is to say your final print (from negative to POSITIVE) is changed? How does this relate to going directly to telecine? I.e., what is the best way to shoot (overexposing what amount) and correct if one is planning on going from negative straight to telecine transfer to a digital edit and finished product?