Jump to content

Marty Hamrick

Basic Member
  • Posts

  • Joined

  • Last visited

Everything posted by Marty Hamrick

  1. Well the movies you just mentioned all had the budget to shoot film,that is the decision to shoot film vs.an electronic medium wouldn't even come into the argument (with the exception of Miami Vice,though, the decision to shoot HD over film there was NOT a budgetary decision).When your budget is 30 million plus,cost factors of stock and lab work aren't an issue.It is an issue,if say, your budget is well under 7 mil,so many artistic efforts of small independents are now and will be done in an electronic format or they won't get done at all. While I'm not one to put a tomb stone over celluloid, I can't ignore the fact that in one day of shooting a lower priced HD camera can pay for itself,when you figure cost per roll along with processing and transfer. I prefer to look at the new technology as another alternative,not a replacement.
  2. Is this it? http://cgi.ebay.com/Vintage-AURICON-16mm-M...1QQcmdZViewItem
  3. That's a nice regular 8 camera though.You can still get regular 8 (or double 8 or standard 8 as it is also called)film.It's actually 16mm film with twice the number of perfs.You shoot the first 25 feet,flip the roll over and shoot the other half and after processing,it's slit and spliced together and you end up with 50 feet of standard 8mm film. Super 8 film,while still 8 millimeters wide has smaller perf holes than standard 8 and gives you more picture area in the frame.There's also double super 8,same idea as regular 8 except the perfs are to super 8 specs.There are 16mm cameras converted to DS8 that are really nice.The Canon Scoopic,Bolex Rex and Pathe are 16mm cameras converted to DS8. Fuji also made their version of super 8,called single 8.Same film specs as super 8 (meaning that it can be shown on the same projector),but the cartridge is different,more like an audio cassette than Kodak's coaxial design,making possible unlimited backwinding for special effects. So,no,not all 8mm cameras are super 8.
  4. I can imagine 50 years from now,if all of the film manuafactures have shut down mass production of stock,some small mom and pop shop in Europe will be manufacturing specialty stocks.Probably 16mm black and white ,grainy reversal which someone will be loading into their old Bell and Howell Filmo or Bolex Rex that they have lovingly nurtured over the years. I'm picturing some eccentric "art film director" making a short black and white,silent work for the same budget as a feature,lol. As I said before,it's really nice to have a CHOICE.When/if film "bellies up" there will no longer be that luxury.
  5. What exactly is "a super 8 look?"Does this mean the image has to be unsteady with shaky,handheld camera movement?Does the image have to be soft with breathing focus and exposure? The whole reason to shoot super 8,or any other format for that matter is because it's look gives you what you need for a particular project.Some of the wonderful flashback scenes in shows like "Cold Case Files" and certain music videos,these looks are unique,and that unique look is the reason to shoot super 8 in the first place.
  6. Marty Hamrick


    Check this out,folks...Very interesting account of this particular camera put to the test of the rigors of indie production. http://www.showreel.org/memberarea/article.php?203 What particulalry caught my attention was where the filmmakers mention that in one day of shooting,they shot enough footage to be the equivalent of 40 to 60 rolls of film,paying for the camera.Anyway,here's another one to add to the discussion list.
  7. I've only seriously worked with 3 cameras, only one I paid for,so I can't comment on value for money.I had a Canon 1014E for years.I shot a couple of commercials and industrials with it.I had a Beaulieu S2008,which I liked the interchangeable lens capability,but I found that it could be temperamental, especially when holding speed,maybe it was just that particular model.I used one of the higher end Chinons in an industrial for the brief bit of sync sound I needed. I've played around with various Bolexes,Elmos,the other Beaulieu models (4008,5008)and some more Canon models(I currently have a Canon 814 AZ and a Fujica Z2,the latter I have yet to test),but I can't really comment as I haven't used them on a serious shoot yet. I've always felt that you can't really judge a camera until you've used it regularly on a real gig.Only with consistent use can you really tell how well it holds up.Most super 8 cameras were designed as home movie cameras, to be taken out on vacations and such,not to be used every day in all kinds of conditions.
  8. I would initially agree with that,but the series of Star Trek movies erased a lot of the "tradition" that surrounds the old show.The Klingons,for example, were made completely different in the movies than in the old 60's series. I don't think Star Trek fans will be too upset.
  9. I think this is the main critical point that motivates responses like, "Looks like a student film".You can overlook inconsistency when it IS in a student film,but not something of this budget and calibur.
  10. Here is a statement that I want clarified as I am new to HD: What's the major difference in the two formats and which is superior?
  11. I have used it in sports filming back in the 80's.The high speed was nice for overcranking, I found that the daylight balance worked out well for a variety of lighting conditions in sports.Mercury vapor and sodium type lights. Don't suppose there's much use for it now.It's not a pretty stock.
  12. I have noticed in my news work when I see police evidence technicians taking photos at a crime scene, they are ALWAYS using film.I haven't yet inquired why they,too,haven't changed, but I have a feeling it has much to do with the value of "hard copy" with a negative as opposed to a file that can be corrupted,lost or deleted accidently. Usually when I see someone with your professor's attitude,it's someone who feels uncomfortable with the aspects of photography that those of us with a strong film background are most comfortable with.Depth of field,focus,shutter speeds,aperture settings and using a light meter.The fact that your conversation about the "99 crappy pictures for one good one" struck a nerve with the dude confirms this.These types of folks are more comfortable with their computers,where they feel that they are in control moreso than out in the field dealing with vaiables like light and movement.They can cover a multitude of sins in photoshop. I've worked with commercial producers like that who felt comfortable in an edit bay, but were nervous out on location or in a studio.It's all about what territory a person is comfortable. I still don't understand why there are so many that want to bury film.Isn't it nice to have a CHOICE? BTW, I love my Nikon F 3 and have no intention on giving it up.I plan to get a nice digi SLR at some point,but I'll continue to shoot film as long as it's available.
  13. Best wishes for a speedy recovery,John.Looking forward to your posts when you get well and get back with us regularly again.You're in our thoughts and prayers.
  14. Definitely the Bolex.It's more versatile with the speeds and such,repair,service and accessories are easy to come by and as for me, I have experience with Bolexes,I trust them.Never worked with a Kinor.
  15. Marty Hamrick


    I was looking at the specs on this camera and I notice it days "24F capable"?Is this virtually the same thing as 24P?
  16. That's for sure.I'm looking for the repair/service manual online,hoping someone has it they can post it for free somewhere.
  17. You've just basically described a J/K optical printer.
  18. It has a unique look,which to date, cannot really be achieved by electronically manipulating the image.This adds another creative choice in the mix for the cinematographer.Not a replacement for 16mm or any other format, but an addition.
  19. I was just given one of these.It probably hasn't been used since about 1983 or so.It has one lens and a 200 foot mag.This is one 16mm camera I have never used and know very little about.None of the cranks are with it and the controls appear to be frozen up.I'm wondering if it's worth anything more than what it has been used for the last 2 decades or so which has been to sit on a shelf and have people go,"WTF is that thing?" I know the camera was popular among sports guys back in the day,a local weatherman use to use this one for time lapse stuff.I'm wondering if it's worth having someone try to resurrect it.Anyone have experience with these things?
  20. Any way you guys could post some stills from your tests with this stock?I'm considering buying some.
  21. I was thinking about those reloadable Russian Kacema carts and wondering if anyone here has any experience with them.Are there any stability issues?Breathing in the gate?Dust and such?Cost in terms of bulk stock with the advantage being you would have more options in raw stock choices.Anyone do this regularly? It has also been a pet project dream of mine (don't ask why,haven't even decided if I want to pursue any of this)to possible mag stripe some raw stock in a darkroom and hand load some old Agfa sound carts.Anyone have experience with sound stripers?Do any models add the balence stripe or do multiple formats?I'm considering attempting it for 16mm as well for use in an old Auricon or CP 16. I know,some things may be better left to die off naturally.Try to humor me. :P
  22. If you're looking for cameras as props,you might look here : http://www.motionpicturerentals.com/Rental/Prop.html
  23. Marty Hamrick

    Help me pic a cam

    You getting any extra motors with that?Which model is it?Rex 4?Rex 5?I've seen them cheaper.The 18-68 is a good general lens,but you're gonna need a good wide angle ( a 10mm at least) and some extra motors.You'll probably want one good sync motor for scratch tracks. I've seen the Arri S go for under 2K.I love Bolexes,have shot some great footage with them.I wouldn't worry so much about the pin registration as most models have a secondary trailing claw that does much of the job a restration pin does.Yet the advantage of the ArriS is in the 400 foot mags.They're metal as opposed to the Bolex plastic and the take up motor is much better than the cheaper take up motors on Bolex mags.Also,if it's an advantage to you,the ArriS can run in reverse.
  24. I second that.I've shot sports handheld from the sidelines with both the Arri S and the Canon Scoopic.For such shoots,I'll take the Scoopic.For tripod,dolly,crane shots,I'll take the Arri S.
  25. I'm considering investing in a small tank processor for black and white and E-6 test reels.It gets tiresome to bother with all of that shipping cost and time running around for one 50 foot cart of black and white or E-6 or one 100 foot 16mm roll. Can someone give me the lowdown on cost per roll and headaches involved here?Like drying the film,seems like it would especially be a pain and a risk or more dirt on the film if you don't use a conventional processor with a drying cabinet.What system would you recommend?I've heard the Russian Lomo tanks are good.I want to hear from experienced DIY processing folks.
  • Create New...