John Downs

Thanks again Bernie. I followed your instructions and I think I'm starting to get better now. I still have a couple of questions though: When I look at the Eclair manual diagram on how to load the film, I see that when loading the supply side, the emulsion should be facing outward (away from the core). However, the daylight spool that I'm using has the emulsion facing inside (toward the core). So in order to get the emulsion side out, I have to load the film so that it makes a serious U turn into the mag tunnel. Is this right? It just looks really awkward! I'm also wondering if this is what's causing so much noise while running! The other thing I noticed is that when I take out the take out reel, the emulsion on the film is facing outward -- opposite of how it came. Is this correct? It doesn't seem intuitive because on a daylight spool you'd want the emulsion side to face inward to protect it from daylight, right? So I'm not sure if I'm still loading it all wrong or not. Please help! Thanks a million!!!

Thanks Bernie! Great detailed steps and explanations! You're awesome. There's only one thing I want to confirm: in step 2, when you say "leave about two fingers' width of loop outside", does that mean that the loop should form a hill that is two finger width's high above the center of the pressure plate? Also, when I want to advance the film, should I always press the pressure plate? If I just pull film, will that ruin the gears or something? Thanks again!

Hi. I'm pretty new to ACL and film in general so I apologize in advance for my novice question. I've been practicing loading my ACL2 and wondering this very same question of loop size. The picture in the link above helps, but I want to get it a little more precise. So when Bernie says, "six frames on top and seven frames on the bottom"; does that mean that I should count six holes on the feed half of the loop and seven on the other half? Is a hole basically one frame? Also, how many frames (or holes) should run outside of the mag (on top of the pressure gate)? And finally, how can you tell if you have a French or an English mag? Is there a visual way of disguishing the two (I don't see a "made in _______" anywhere!)? Thanks!

I have to say that this movie was pure crap. I nearly threw up after watching it. I must agree with Daniel when he said that your shots were completely jarring and didn't flow well at all. I think his assessment was spot on when he said that you should have gone handheld with the more panicked shots. I don't have any idea what you were thinking. Obviously, you either didn't plan out your shots or you don't have much experience. But I suppose it's good that you are trying (and I emphasize trying) and are learning from this forum. Take my advice (and the advice of others) to heart. I am not trying to attack your work, I'm only trying to provide you with constructive criticism. Good luck on your next project. I think you'll need it. I also have to mention that your lighting was subpar. You should hire someone who knows what they're doing. I don't think you should have gone with your "Home Depot portable lamps" even if your budget didn't allow for it. Peace out. I have to agree with LondonFilmMan. Structually, your story was as sound as a three-legged dog. You have a lot to work on.

God, why even worry? That's my question. It's not like they're going to track you down and sue you. Just take the money and do what you have to do.

I suggest that you you read the Filmmaker's Handbook by Seven Ascher and Edward Pincus. It will help a beginner like you very much. The book includes the latest information on digital filmmaking and introduces a wide range of methods, equipment, and processes that every filmmaker must master to be knowledgeable and competitive. It will help you immensely.