jef bryant

Just curious if anyone has tried the new sync motor (actually, old motor with new electronics and housing) from The Aranda Group. Any experiences yet? Seems like it might solve a lot of the Konvas motor/power issues. http://www.konvas.arandafilm.com.au/NewFil...s5000page2.html

Just for the record (pun intended): The song on the trailer on the Apple site is "Age of Consent" by New Order, off of the album "Power, Corruption, and Lies" from 1983. The song on the French trailer (the one with the dialog) is "Ceremony", which, as mentioned above, is officially New Order, but was written in the last days of Joy Division. I love Coppola's use of this kind of music. I was thrilled when I heard one of my favorite Jesus and Mary Chain songs in the "Lost in Translation" trailer, then heard it in the film at the climactic moments.

I'm aware of two lower cost (under 2k), reflex, removeable lens, sync, quiet 16mm cameras: The Eclair NPR and the CP-16R. My question is, is one or the other a better idea for purchase, taking into consideration things like service availability, parts availability, reliability, etc? What are your opinions? Is one or the other a better investement, or is it just a matter of personal taste? My second question: are there other models that fit this description that one should look into? Thanks!

I guess it is safe to assume that the PAR company either no longer does these mods, or the company itself no longer exists. Good to know the mods are floating around out there. though.

Does anyone know (or know someone who might know) about the possible existence (or custom creation) of lens mount adapters for old Kodak Cine Special II cameras? They had a propriety "S-mount" and I'd love to know if there's a way to mount ANY other kind of lens. "C-mount" comes to mind first, but I'm curious about any adapter. I did come across an adapter that allows use of S-mount lenses on c-mount cameras, surprisingly...

Excellent. Is there any chance you could post one at full size and uncompressed, rather than the smaller jpegs? I'd love to see how well it responds to my color correction tools.

I've been doing a lot of reading of cinematography boards lately, and I'm amazed at the amount of work and detail that can go into the capturing of the image. But just the other day I re-read "Rebel Without a Crew" and I was wondering what the meticulous professionals thought (or think) about Rodriguez' handheld, point-and-shoot, one photoflood, set-the-f-stop-and-go method of filming El Mariachi. This seems like the antithesis of everything I normally read about cinematography. Do you like the look of the results? Is it an approach you'd recommend? This question brought to you by 1993.

I was looking at a CP-16R with a 144 degree "TVT" shutter that's supposed to get rid of any CP-16 smear problem. My question: Is there anything about these shutters that I should be aware of? Can they be used to shoot ordinary footage, or are they just for shooting video transfers (read that somewhere)?

It was the wide lens used on El Mariachi, if that helps.

For the record, The Mulholland Drive alterations of the nude scene(s) were done by David Lynch himself out of concern for his actress. He said they agreed that it was fine for theaters, but for the home release they didn't want people capturing frames and posting them all over the internet.

According to several sites I've read over the past couple of years, the WTC/ufo clip was originally a promo made for the sci-fi channel. Pretty neat, though.