Timothy David Orme

I'm shooting a film coming up soon and I need some immediate help. Bascially, I'm trying to determine whether or not shooting with a camera that's not ran by a crystal motor is going to affect the sync sound enough to make me worry. I've heard from a few sources it might be, but I thought I'd ask the more knowledgable people on this message board. Thanks.

So using a follow focus allows you to pull focus with a knob instead of just using the lens? What's the major benefit of that?

Although I'm not a 'first time filmmaker' I've never had to use a follow focus or a hi hat for any of the shoots I've done. I see them on the web when I'm researching equipment, but I've never know what they do.

While I have shot with a DVX100B for a few months now, I haven't used one of the anamorphic adaptors you speak of. I almost purchased one, but heard it wasn't a good idea from a few aquaintances that had. Reason being, they said it was difficult for them to go without screw on filters. I guess it depends what you want, but with an anamorphic adaptor, you have to go without the those filters.

The monitor idea would work if we were going to be shooting something we could easily shoot with a monitor, but unfortunately we're going to be shooting primarily on location, outside, with very small, quick setups. Would using a director's viewfinder help out at all? How might we crop it via the viewfinder?

The footage isn't necessarily meant to be home video, just an older, worn memory, if that makes sense.

I'm going to be working on a few short films over the next few months that I'm shooting on SD8 and 35mm. The goal is to crop the sd8 to a 1:85 aspect ratio to match the 35mm. We're shooting the sd8 footage on a Nizo 6080, so there isn't the greatest viewfinder (although it is a reflex). So here's my question: Does anyone have any tips to help me frame up the sd8 footage to a 1:85 so I can shoot without worrying about chopping someone's head off when we crop the image.

That helps. I'm never sure what people mean by expensive on these forums though, considering the spectrum and cost of any movie making tools. As of right now, my current light set up is 2 5k Moles, 2 2k Moles and 2 1k Moles (all solarspots). Plus we have a little arri 300 and some other misc stuff (like parcans and ellipsoidals), but the moles are really what I'd need to power. Also, how loud are these things looking to be? Are we looking at getting thousands of feet extension cords for something like this?

Hi everybody-- So, I've been doing a little research on generators, but come to many road blocks also. Basically, I'd like to get a generator that will power my 5k Mole Solarspots and a few other lights. My intentions are two fold: to have acess to the 5ks for use with daylight correction or situations when I need that big of an outlet, or to be able to have lights where there are no outlets. A friend of mine was talking to me more specifically about burps or coughs in the engine that might make the lights flicker or blow bulbs. I wasn't sure how much weight to put in that, but I would like to know what I need to know in order to continue buying a generator.

Although I've never dealt directly with the problems associated with the adapters with the CP-16R, stories of them seem to abound. Mostly I've heard of problems with getting and Arri Standard to CP adapter and having the problem that some of the arri standard lenses will twist when the lens twists, a problem that can't really be fixed. Again, I haven't dealt with it. So for $750 for a PL mount, is it cheaper to have each lens adapted to CP? How much is it per lens? --Tim

The biggest problem I've found with these cameras is finding good prime lenses for the CP mount. I bought my CP-16R about six months ago and still haven't found anyone with the lenses I'm looking for.

Hm...I called visual products and they're out of stock. I haven't been able to find one anywhere else. Also, I was wondering if anyone knows where to get a few good 16mm primes with the CP mount. Or, if people really feel it's worth the money ($750) to convert the camera to a PL mount. --Tim

Is that matte box specifically listed as the Arri SR mattebox? If so, I can't find it anywhere, and I've done lots of searching. Anyone have any advice on where I should be looking or if I'm even looking for the right thing?

Hey Robert-- Thanks for posting those pics. I've been trying to find out how people have rigged a matte box for the cp-16r for a while and nobody has been of much help. These pics make me very happy. What matte box did you say you were using? Arri SR? --Tim

Hi Robert-- I'm glad you're going to post pictures. I really appreciate it. I've been researching matteboxes for the CP-16R for a while now with no luck, so I'm going to take whatever advice you have to put one together. If you'd like to talk about this on a one on one basis or email me any of the other pictures feel free to do so at bornmadfilms@gmail.com --Tim

Robert-- I'd love to see a picture of how those century rods work with the camera and mattebox. where did you get them for that price? i need to get some myself. --Tim

Those look rather expensive too. Has anyone seen one for around the $5k range? --Tim

So, looking t visualproducts.com, they have a few I'm curious if you all think would work with a 35mm camera: the Oconnor 100, Ronford Baker 2015 Fluid Head (which the site says "is made for those larger cameras, from 30-100pounds like the Bl1-4, 35III, 535, 435 or even 16mm studio rigs"). I'm really not that lazy about researching this sort of thing, I just can't seem to find anyone around Idaho that knows anything, and the internet sites can never tell me what a product's like from experience. Thanks a million for all the help.

That brings me to another question I've yet to be able to find a solid answer to: What is a good, beefy fluid head? And can I get one for my budget? From what I've heard, fluid heads don't usually support cameras that big. That is to say, they can't hold the weight and slowly tilt down over time. I don't know though. I know Sachler makes a 100 pound variety, as do some others. Which fluid head would be beefy enough yet not too expensive to purchase (like the Atlas)?

I've been shooting short films digitally over the past few years, and I'm in the process of going over to film. I've been planning on getting a new head to hold the heavier head, but I'm not sure what to get. I've talked with a few people around town about this, and got varying opinions. Here's what I'm looking to do: buy a head that will hold both 16 and 35mm cameras (something like a CP-16R and a Arri BL-4/Evolution style camera). I somewhat prefer fluid heads (because they're simple to operate), but I don't mind getting a geared head if that's what will work best. My budget's $3-$4k. Any ideas?

Hello All-- The cinematographer on my newest project is currently working on converting a Nizo 6080 from a Super8 to a Super-Duper/Max/Ultra 8. However, he's ran into a problem. When he pulled the gate off to have it widened, a few tiny (1mm by 3mm he says) springs flew out and onto the floor. Needless to say he can't find them anywhere, and the camera can't produce a steady image without them. We really need to have this camera converted, tested, and prepared as soon as possible. Does anyone know where we could find these parts, or where I could send the camera to have someone install them and get it running again. (By the way, the gate is cut and ready.) Thanks for the help. I'm in a tight spot on this one. --Tim

Okay, it sounds like I'm starting to get a good idea of what to get. 8x8, framed, etc. Where can I buy a good one? B&H? Anyone have a link to one they specifically recommend? Thanks again for all the help.

Well, price doesn't matter so much. I'd rather get something I could use over a longer period of time and spend more than just rig something that's not going to work and is going to be a hassle.

I'm shooting a film this fall that primarily takes place outside. It has many walking shots on the street, shots of a man sitting on a sidewalk, etc. One thing I am in desperate need of, is a massive diffuser. Our cinematographer recommended building a 70x70 pvc frame to hand a white sheet from. I'm wondering if there isn't a better way to do this--something stronger, easier to break down, longer lasting. If it matters, we're shooting the film on SD8. Thanks for any help.

What about just using a clip on matte box? What's the advantage of having the rods and plate? Also, how do you know what size to get to attach the matte box to your lens?