jasarsenault

I love B/w film. I just finished a doc in b/w. Now Ive finished a short script and the argument between my partner now is that I want b/w he thinks it HAS to be color. I love how cool The Huslter looks.

Great Ideas. Thanks David.

I am finishing up a doc shot on 7222 16mm and transfered to video with video being final output. I was about to add titles digitally using livetype but was not happy with the end results. I am thinking of filming them. Any Ideas for white type on black background titles shot on 7222 16mm? How do you light them and what is the process of shooting titles on film?

I am not sure of the optimal temps for storing film. You can probably find that on the net, maybe the Kodak site. I have kept film in my household freezer, just make sure you give it plenty of time to warm up slowly before you use it. If you are going to use it sometime soon, like the next few days, you could probably just put it in the fridge. Again , give it time to warm up before using it. This may not be the best way to store film, and someone on here may know the best temp for it. This is just something I have been recomended from some friends who are photographers and I have had no problems. Make sure the film is sealed and I always tape a plastic bag around it in case something spills or the fridge gives out and ice thaws,

I am finishing up a film now in which my final shot is hand held. It is a long tracking shot through a fileld following an old farmer holding a bucket as he makes his way to his water pump. It is an extremely rough handheld shot because it was held low pointing slightly upwards. It is rough, but very remniscent of home movie footage as it is grainy black and white. Ive showed many people this shot and they love it. I guess my point is even rough handheld has its place in storytelling. It is just a matter of finding the right place.

Just curious. A friend was telling me about his anamorphic style lense for the pd-170. Sqeezes a 16:9 ratio onto a 4:3 chip. How much difference in quality is this then shooting normal 4:3 and then cropping in post, except for the obvious loss of actual image. Is the image which is retained on the cropped picture still similar in quality to the image which was squeezed and then un-squeezed ?

Sympathy for the Devil ends in an interesting crane shot, if i remember correctly.

Hey Mark. I have used the Eclair quite a bit and have been Happy. The Eclair has a shoulder mount if you can find one, that makes it easier to go hand held. Without it it's kind of a pain(I do have an older one!). I really like having two lense mounts, quite convenient.

All I can say is that if you are going to stay on video, I shot at 24 frames/sec telecined to 29.97 ndf. I recorded sound on Dat. My interviews sequences were long. It did drift on fcp, but I just kept re-syncing in audio pauses. It worked.

I shot a doc rolling sometimes full 400 ft rolls. When my sync drifted I would cut the audio line where there was a silent space in the dialogue. I would then move the audio ahead or back a few frames to re-sync, then locking down audio. Then I would keep playing the film until it was out of sync and repeat the process. I had full ten minute interviews where the audio had been cut in between silence numerous times to re sync, yet you could not tell during the interview. I was kidding about the headache!

This post is giving me a headache. :D

I finished in video. I did not go back to film. So it is quite possible that there is a different process for that. Why not call the lab that will be doing the telecine? That's what I did for my project.

Essentially your right bunnies. When played back on fcp it will be at 30 frames/sec or 29.97 ndf or drop frame. Shoot your film at 24 frames. Transfer to video. It will then be played at 29.97 ndf or drop frame depending on your choice. Set your Dat to record at one one of those speeds. But bunnies is right again. The speed option on your dat doesnt really matter too much if you are syncing completly by eye. I shot at 24 , telecined to 29.97, and had my dat set to 29.97 ndf... but when I started I had my dat set to 24 frames. You can still sync it by eye. If you shoot 24, it will look normal when played back on video at 29.97.

Well video runs at a different frame rate then film. Film runs normal speed at 24 frames while video at 29.97. you can go non drop frame or drop frame. Look at the speed on your Dat timecode adapter. It will give you the options of recording at 24 f, 29.97 ndf, or 29.97 drop frame. Then go check final cut and see what your options are for playback at normal speed. It will be 29.97 ndf or drop frame. This is what was recomended by the lab I used for processing and telecine (Alphacine) and my film to video project is completly in sync!

Sampling rate is quality. Check my above post. The way I fixed the drift in fcp was every couple of seconds I would cut the audio in a silent part of the film when I knew it was falling out of sync. I would then move the audio forward a few frames to resync and lock down audio. I would then continue until I noticed the falling out of sync and do the same thing.

I did this exact thing this summer. I shot 16mm telecined to dvcam with my sound recorded on Dat. I shot at 24 frames per second on my cam. I asked the lab about the telecine and the sound question. They recomended I transfer my footage and record sound on dat at 29.97 ndf. They said this would give best results. While editing, I found that after syncing my clapper every couple seconds there was a drift in the sync. It was a pain but I had everything in sync within a few hours and it looks fine. So, shoot at 24 frames. Record sound at 29.97 ndf. Transfer your footage from film to video 29.97 ndf.

Thanks.

I also still have the footage in final cut on a mac.

Hello. I am finishing up a project and I want to make some promo material. How can I grab some still frames from my footage (Dvd) to make posters and ads?

I have shot a couple music videos with non-sync cameras. One we shot a story which required no actual sync. The second we put in sync what we could and used a lot of cut aways. We used a super 8 cam and a bolex. Neither of those were sync and the bolex had a spring wound motor.

I think it all has to depend on what you have to work with and what you want to do with it. I shot a film not long ago and transfered to Dvcam b/c I only had access to a dvcam deck.

I shot 16mm and transfered to DVcam for editing. I guess I lost a bit of quality, but my image on DVCam still looks a whole lot more like film then the projects I shot which originated on Dvcam. I didnt have access to another format of video deck so I had no choice for editing. Still, when shown on dvd, no one made the mistake of thinking my footage was shot on video and not film.

I was directing a documentary in which I was interviewing an older man. I was also recording sound. During one of his pauses he farted. No one else heard. i dont even think he noticed. But I had a shotgun mic pointed at him and a headset on. It cam through loud and clear. I tried hard not to laugh. I thought it was funny anyway.

Thanks!

I guess thats what I was thinking. Ive been using a deck which reads dv cam and minidv, thought maybe there was some type of beta deck for many beta formats including digi. Thanks.