Brad Skiles

Maybe I should revamp my question. If one year old film hasn't been kept in the freezer would this be a bad decision to buy?

I was wondering what you guys thought of buying film from third parties. Is one year old film too old? It was kept in the fridge briefly and then transferred to the back of a dark, but dry closet. The savings are substantial, but I don't know how risky this is considering I don't have a bunch of money to work with in the first place. Thanks, Brad

If it is all about the eyes the actor could wear contacts with a tiny chip in them...

As far as acting is concerned I would say that the main character wasn't bad, but when we see the group of guys for the first time it seemed like they were conscious of the camera. I liked the location. To me the movie felt like an in-camera edit project.

Kevin, I jumped on Wooden Nickel. Thanks for the suggestion I'll probably rent a few lights from these guys. The Wooden Nickel Site listed: 1200 PAR (LTM) (ARRIFLEX) for $90 1200 PAR W/ ELECTRONIC BALLAST for $130 Am I missing something here? Don't all HMIs run off a ballast? Is the $90 version the lamp only?

I just wanted to thank everyone who replied. The pictures are especially useful when you are trying to get an idea how things might look. Does anyone know of a good rental house in Los Angeles that caters to the indie crowd? I will be renting a lens from Alan Gordon so I may pick up a couple lights there, but if anyone has suggestions I'm listening. Brad

Kevin, Are there two lights in this shot? One reflecting off the basketball net and another underneath the overhang?

Does a 1200 watt HMI throw out enough light to be discernable on a sunny day in the shadows of a porch or tree? My guess would be that it does not. The largest HMIs I've used are the 575 watt versions (which I understand are small). I turned them on and didn't really see a difference. The bounce was much stronger. Thanks, Brad

The company I work for makes shows for The History Channel, Discovery, National Geographic, etc. I won't speak for all the production companies in the doc/reality realm, but I'm fairly certain the reason most shows originate on HD instead of S16 is because it is cheaper and quicker. Pretty simple. 16mm is not obsolete it is just relegated to higher budget projects, which is mostly not what these channels make.

This lens came with my CP-16R. I understand a series 9 lens shade works well for these. Will you get vignetting with a regular size or do you need a wide angle lens shade? Thanks, Brad

This might be useful. http://www2.bitstream.net/~audadvnc/dofcalc2.html Brad

Search for footage: http://nix.nasa.gov/

Do you think the 501 head could still conceivably hold the CP-16R or is a few pounds over the max limit not a good idea? I think the CP-16A might be a couple pounds heavier than the CP-16R when fully loaded. Brad

I know my camera takes B-wind 1R film. What's the difference between A-wind and B-wind film? I know it has something to do with how it is loaded on the core so that sprocket holes line up correctly. Or am I wrong about this? I think this would be especially important with single perf film, but how about double perf? Thanks, Brad

Thanks Guys.