Jon Boguslaw

sorry to bring up an old topic, but how easy is it to modify the camera from 25fps to 24fps? Is it something that a relatively inexperienced person can do (me) or would it require sending the camera away?

Thanks again to everyone for chiming in here. Based on what I've been reading I've pretty much established: *There is no way I could get close to a 16mm release print with my current budget. This project is going to end up on tape after I'm done with it. *It would probably be best for me if I got the footage telecined. As nice as it would be to edit on a flatbed, it really sounds like adding sound (and having a displayable copy after I'm done) would just be so much easier in FCP. I think what I'm going to do is: rehearse a lot, get a crystal sync camera (not sure how yet), record sound onto mini-disc, try to get the shooting ratio down as much as possible, get it tele-cined and edit it. Based on the looks of it, I think I could probably do it with less than $11k, but I'll be ready if and when things go wrong.

Oh, I understand all the "post-$7,000" stuff put into El Mariachi and stuff. If I were to dub the movie later, I would definitely record sound on location, just not necesarilly while shooting the film. Again, not sure on that whole thing. If I were to record sound on location, and mostly have actors re-dub their lines when I have the clips arranged in FCP, would the audio from FCP be good enough to use as the sound-track? Again, I'm not asking for it to sound perfect, but, would it be listenable/decent/good enough? Also, if I were to edit on a Steinbeck, could I simply get a reel-to-reel recorder that accepts the magnetic 16mm film with frame numbers on it that occasionally appears on ebay? Of course it would be much more difficult than the FCP thing, but I'm just looking at the different options right now. One more thing, and this is for the future. I know I couldn't finance it now or soon, but what would a rough estimate for a 90 minute B&W 16mm ---> 35mm be? Thanks again.

The telecine sounds like it might be a good idea, but the main thing I'm worried about is adding sound later. I'd really like to dub most/all of it after having shot it. I know this would make it much much harder, but it would also (I think) make actually shooting the film much easier and I could just take a lot of time to finish it later. Of course I'd record wild sound during the film, but I wouldn't want to have to worry about sound levels/camera noise/etc. Using a film workprint or telecine, how would I add the sound? I mean, I know how to drag a track into FCP, but would there be a way for me to add sound to the workprint after I have the scenes arranged?

Ok, I've been saving up money for a while and am thinking about using it to shoot a feature length movie. I've got about $11,000 right now. Of course, I'd like to spend as little of it as possible. I know I wouldn't be able to get anywhere near a 35mm blow-up with that amount of cash, but if I shot regular 16mm B&W, I could buy 360 minutes worth of film for what would ultimately be a 90 minute film, spending about $7,000 for raw stock and processing with a best-light workprint. If I only shot 270 minutes I could get the price down to $5,000. After I have that, how would I go about adding sound to that? I don't really plan on recording sound at the same time as the image. I know this is not easy, but I think it would be ultimately worthwhile since it would save money as well as allow more camera movement and not having to worry about sound as I'm shooting the film. What cheap methods are there for recording sound in post, and how would I add that to a film? The cameras I'd be using wouldn't be of the best quality, and I'm not seeking to create a flawless looking movie, so would shooting reversal and editing the answer print (I think I'm using the proper terminology) be out of the question? It's going to be rough looking either way, would it be that much worse? Either way, once I have the 16mm answer print, what are the options from there as far as the festival circuit and such is concerned? Should I instead maybe have the film telecined and edit digitally? Thanks in advance.

"Fear of a Black Hat" was shot in 16mm and a lot of the shots were hand-held.

ok, i shot a few rolls, ran them through a not-so-great kodak projector and got this streaking and jumpy effect. the same thing happened when i ran them through a Bell and Howell i bought hoping to solve the problem. I put a clip of one reel on youtube.

I'm just a college student (not film major or anything like that). I just call the number to order the film, then they give me another number for me to fax my student ID to. After that, I call them back and order the film with the discount.

Thanks a lot.

Hi, I have used my 518 with automatic exposure with Tri-X and it came out great. Should I expect the same with 64T, or does it not read properly?

Hi, I was just wondering if super 16 would project through a normal project as regular 16 does, or if the side where the soundtrack usually is would no be projected.

Oh, when I say I don't want sync sound I just mean I don't want a crystal sync motor to record on-set sound.

Yeah, I have no desire to use sync-sound. I'd rather be able to move the camera around and such without having to worry about whether it can be heard or if sound equipment is in the way. If I were to shoot film, record what was said with a cassette recorder to remember exactly what was said, could I then have the film telecine'd and have the actors re-record the sound/add natural noise and such, it would be decent, right? Also, once I have that, what is the procedure for getting a print. If I have the markers and such for where the edits would be, how much do negative cutters typically charge? Is it based on the amount of edits, or the total footage? And what is the procedure for adding the sound stripe? I'm sorry, I did numerous searches, but most of them concern sync-sound which I'm not concerned with. I'm just thinking about making a short and couldn't find much info on how the end result (negative cutters and such) is made.

could I dub it somewhat believably? I'm just looking for the quality of old italian movies or stuff like that. Doesn't have to be incredible, just watchable.

Oh, nevermind. The focusing was just jammed very very tight. Thanks for your help!

Thanks a lot for the suggestion hmmm, it really doesn't look like a video lens to me. There are a lot of markings regarding distances and such that list the apperture setting that would contain them. I can unscrew the front, but that doesn't seem to help. I can't find any way to make changes that are visible in the critical focuser. The lens says Lytar Som Berthiot F=25 1:1.8

Hi, I looked for a thread that adressed this but couldn't find one. I recently got a Bolex with a 25mm Lytar lens. It doesn't seem to have a focusing ring that I'm used to having with 35mm SLRs. Is the only way for me to get closer objects in focus to make the apperture smaller to increase the depth of field?

Thanks for the info.

Hi, I just got some 100' daylight reels from Kodak Plus-x reversal film and they say to "Load in total darkness." Is this necessary?

Thanks everyone for all of your help.

I was able to score it for $80 and the guy lives like 15 miles from me so I'm probably going to do a pickup. I was considering getting a reflex, but then it looked like it would cost me $300, which I could have handled. But then I would have thought, $200 more and I could get one to handle a 400' mag. Some more cash and I could get one with a crystal sync. I just wanted somehting really basic to start out on.

Hi, I just bought a Bolex and was wondering if it was single or double perf. http://cgi.ebay.com/PAILLARD-BOLEX-16-MM-M...1QQcmdZViewItem It looks to me like the H-16 Leader Model introduced in 1947. Thanks for any help.

Hi, I have the oppurtunity to purchase a K 3 for about $160 after shipping and everything. It comes with filters, handle, shoulder mount, and bag from a reputable ebay seller. First, is that a good deal? Second, it comes with a Meteor 1.9/17-69 lens. Does that mean it is a bayonet mount? Is it really that bad having a bayonet mount? Though I would like a wide angle lens, I'm just going to learn on this camera so it wouldn't be that big a deal, right? Thank you for all of your help.

Thanks for all of the help. It is greatly appreciated.

Hi, I've been trying to learn about 16mm cameras before actually purchasing one and I couldn't find a definitive way to know what cameras are single perf (I plan to buy the film from Kodak and that seems to be what they sell). Is there a way to know which K-3s or Bolexes use single perf?