Bruce Taylor

Will has it knocked. I used to shoot S8 sound carts back in the early 80's, and while they were passable at the time, that time has passed! Poor sound quality (wow and flutter, limited dynamic range, high noise), the sound 18 frames in front of the picture, etc. Everytime you did a mix you'd move a generation from the source and lose quality. The old cassette recorders were not so hot, especially when compared to digital recorders you can get for a couple of hundred dollars today. Record double system digital sound (slide it around in post as needed) and you'll be way ahead. Make a barney for your noisy S8 camera (my Canon 1014xls was pretty quiet, but it still needed a barney). I had forgotten about the camcorder trick until I read Will's post, it works great-- especially if it has an external mic input and you plug in a decent mic. Pretty good digital sound, and you probably already have the recorder. Also, don't forget about the possibility of dialog replacement in post, it's not that hard and you'll get the cleanest dialog recording. Good luck and have fun.

Welcome Rich, it's nice to see you here. The news that Fuji film sales are going up warms my heart.

Sorry, I haven't visited this thread for awhile. My experiences with Reel Good have been 100% good... so far. They supply a lot of music video and commercial producers. Rich has a good list too, I have heard good things about all of them.

Nathan, I suggest you spend some time nosing around the archives here, you'll find volumes of passionate discussion addressing the questions you have posed. Also take a look at www.cinematography.net. Then draw your own conclusions.

I know a DP in Ecuador that built his own HD to film rig. He has been running tests with 7D footage and is pleased.

I think your best bet would be to contact Bruce McNaughton at ArandaFilm.com.au for that. He does this work all the time. Bruce Taylor

I have used a set of Lowel Omni-stands for many years for smaller lights. Unlike a lot of the cheap stuff they are really solid, and reasonably light. Looks like they can be had for about $90 ea new. You might have some luck on ebay as well for used ones. Bruce

I have gotten a couple of sets of gears from Steve Morton and have been happy with them. On some of them (it was the 50 or 75) it is a bit difficult to get the cap on, but I can still manage-- there just isn't much clearance between the gear and the end of the barrel. Bruce Taylor

Try www.usedmovielighting.com, (818) 768-5924 in Burbank. Give them a call and see what they have in stock as it's always changing. Bruce

Arri IIC is also a relatively inexpensive conversion to 2 perf, if that's a future direction you would want this to take. Parts and service are available. You can hard front them to just about any lens mount you want. I have always had a soft spot for the Eclair CM3, but as Freya points out, it is tough finding any parts or modern motors for them. At this time, the Konvas is very practical. Inexpensive Lomo glass, parts and service are not hard to find, and Olex is making very nice motor modifications to modernize them. If you want to shoot sync sound though, none of these is a very good choice. If you do decide to shoot sync, you'll want a crystal sync motor at least. Bruce Taylor www.Indi35.com

Paul, But 5 years ago it would cost $18k! The techniscope conversion alone, as you know, is over $5k. This is one of 2 techniscope Kinors, the other one I am keeping (and shooting with soon, I hope). Bruce

If anyone wants to split up the camera from the lenses, that is possible, the camera would be $6900, prime lenses $4000. Camera is also available with fewer accessories for a lower price. 4 perf Kinor camera body is also available. Bruce Taylor

Yes, you're stuck with the 12-120 unless you can find an example of the 9.5 -95mm or 9-57mm Angie with the "dog leg" viewfinder. I am pretty sure there are CP16R to Nikon adapters out there. Remember, however, that you are going to have to deal with the fact that Nikon lenses were made for full frame 35mm still cameras and the film real estate on a 16mm frame is much, much smaller. A "normal" perspective lens in 16mm is a 25mm. So the Nikons will be okay as long lenses, but not as a wide angle. You can also get Arri B mount adapters for the CP16R, that makes the wide range of 16mm lenses made for Arris available to you. Bruce Taylor

But you can own the Lomos! Bruce

Freddy, I have seen your work on vimeo. It is hard to believe what you do is possible, but there it is. Is there anyone out there doing it commercially? I have a pile of 8mm and S8 reels I would love to see transfered with the quality you demonstrate. Thanks, Bruce Taylor

For a reasonable price, Hunter's set-up is probably the way to go with the OCT19 Russian mount. The FFD is 9mm greater for the OCT19 mount than the PL (61mm vs 52mm), which makes mounting it on the 7D easy, no mirror clearance issues for most OCT19 lenses. Steve Morton or Aranda Film makes the adapter for $500, and Lomo roundfront anamorphics go for about $3k each, or rent them. Bruce Taylor

Lomo 20mm-120mm T3.1 lens with anamorphic back and 1.5x and 2.1x tele-extenders, macro function, support, front and rear caps, case. Serial number 910014, made in 1991. OCT19 lens mount. PL adapters are available from www.spbsale.com . With the anamorphic back it becomes an anamorphic 40-240mm zoom. This is the complete matched factory set. Includes custom made Arri pitch delrin focus and zoom gears so you can use any standard follow focus or zoom motor. All the pieces are in excellent condition, clean glass- no hazing, scratches, fungus. Mechanically excellent. Coatings are excellent. Case is beat up. ebay auction here Offer $3300 and it's yours. Bruce Taylor www.indi35.com 909 641-2339 Bruce Taylor www.indi35.com 909 641-2339

Bump. New ebay auction is here Offer $10,750 and it's yours. Bruce

Love it! I just bought the pre-made version http://littlegreatideas.com/steadycam for $40 because I didn't want to bother with the trip to Home Depot. Nicely machined aluminum and the low mode bracket is a lot better that a bent piece of angle iron. I works for little cameras and you sure can't beat the price. Bruce Taylor www.indi35.om

I think there's a math problem here. Are you shooting 4 perf 35mm? If so, you've got a total run time of 27min of raw stock. Slating and waste will eat into that. You've got considerably less than a 2:1 ratio for a 15 min film. Rethink the length of the project or buy some more stock. I've been getting short ends over at Reel Good Film in LA as low as .05 a ft-- don't blow the shoot for a couple of hundred dollars worth of stock. Bruce Taylor www.indi35.com

High heat flat black paint should also be available at just about any auto parts store. It's made for headers/exhaust manifolds and is good to 2000 deg F. Of course the paper will burn long before that! Bruce Taylor

I assume you are renting? If so, perhaps they have a sound barney for it. I have one for my Kinors (similar to Moviecam SuperAmerica, but noisier!) and it works great. Put an optical flat in front of the lens to further dampen noise. Bruce Taylor www.indi35.com

Erik, Is it the grey bodied one? With the large round shape on the motor side? I may have a motor assembly for it, along with a spare body that would go free with the motor (registration is poor) if you want it for spare parts. I'll look through the lenses that came with the camera and see if anything looks decent. Might have a couple of mags, too. Bruce Taylor

The lean you see in the car is from a focal plane curtain shutter at a high shutter speed (a moving slit passes in front of the film), not sure if it's really the same as a rolling shutter, but the effects are certainly similar. Someone in England has made a software plug-in for FCP to correct this issue. I saw it mentioned in the Konvas.org discussion list, but I can't remember the name of it, you might look in their archives and see if you can find it. Bruce

I don't know much about Eclairs and how they behave when they have power issues, but just because your battery is new and you've drained and recharged it I wouldn't say it's okay for sure. Find out from Bernie what the voltage should be while the camera is running and measure it while it's pulling film. get yourself a cheap volt ohm meter and check the cables, check for loose connections, check resistance at the connections while you wiggle the connectors.