Christopher Schneider

One last mention, Ron Fricke, his direction and Photography on Chronos and Baraka are the stuf of legend.

Sorry it took me so long to get back to you Jaimie, It was a 3-5 minute 16mm silent short to be cut as a music video film, kinda along the lines of the "Plans" DVD that Death Cab for Cutie put together.

You can us the standard SR3 mags on the High Speed, but I don't think you can run the film at High Speed. You cannot use High Speed mags on the Standard camera system.

Just a little update, Got my camera problem solved, I'm a go for Sat and Sunday. I've got my lighting package, a great gaffer, and my film stock. All I need now is to make this film happen, and hopefully have a little sun over the weekend. I'm completely jazzed about making this happen, and all for 300 quid. Being young and crazy with a camera package. I'll post some stills of the production.

My first time was on a K3 shooting focus tests, high speed tests and filter tests. A week later I shot a Batman short on 16mm, a jokey one, not at all serious. It was great, the look and feel of the film was spectacular, that's almost 6 years ago. Dang.

My absolute favorite DoP is Adam Kimmel. The first time I thought about what a DoP actually does was after my tenth viewing of Beautiful Girls, not the most dynamic of films photographicly, but Adam's work there showed me that a good DoP is unobtrusive, allowing the actors to do their work and the lighting and camera to underscore them. His recent work on Capote had a profound effect on me, and I want more and more to shoot like him. Darius Khondji's work on Se7en is incredibly gritty and just so well done, it was a great tool in film school. And now Lance Accord is doing things with the camera I can only dream of doing. I just don't have the confidence yet. But I'm getting their. The other DoP that hits me hard is Jordan Cronenweth. Blade Runner is a flawed movie, but his lighting is perfect. The way Deckard's flat is lit specifically gets to me.

Hi all, if this is in the wrong thread, please feel free to move it. OK, on to my dilema. I'm shooting a silent 16mm short next weekend and I just got a call that I hate. The camera package I was promised by a private owner has become unavailable. Not uncommon since it was going to be loaned to me for free. So I need to com up with a replacement for cheap as free, or at least cheap. I'll take anything that works, an ARRI S(B), Aaton, whatever, just need something to put the film in that's not a wind up (long takes are happening making spring driven cameras out). Any advice? While this isn't life or death, I've become intensely fond of the project and would love to see this through, I'm getting to experiment in areas I've not gotten to before, from mixing stocks, to using stockings as filters. The director and I are funding it ourselves and it will be a two day shoot in Notting Hill. Thanks for any and all assistance.

You should not have any flicker problems. I've shot DLP projections without changing the shutter and had no flicker problem. I even shot a film with an image slide show burned to DVD and projected through an older DLP projecter, the stills were on screen for long periods of time with no flicker what so ever. Also, they looked beautiful in the final film, crystal clear and solid. Good Shooting!

I love the camera and have had great experiences with it. But I have been on 2 sets where the 2nds/Loaders, who were experienced, weren't paying attention of something during downloading and the center droped out resulting in a brainwrap. Practice downloading, it's not hard to do, but with the loose tail there is more chance of the film unspooling. And, since it's the SR3 try shooting some stuff at varient shutter angles, it would be an interesting way to learn the process, both the pros and cons of doing so. Is it the SR3 High Speed? If not, you can still shoot some slow motion, just not as slow as the High Speed is capable. You still can do a "speed ramp" even if it's not the High Speed, try it, you can attempt to do it while iris racking. This is a very sophistocated camera for High School, so try everything your teacher will let you.

I just shot a 16mm short using the Indie Dolly system someone else mentioned. It was ok, not great, but far from bad. I got it free from a friend and I needed a dolly so it did the trick, but i think if you're going to purchase something build nice chucks for a skateboard dolly system that will pack in a briefcase or suit case, then whenever you land or arrive at a location just go to the local hardware store, buy 2 pieces of plywood and PVC pipe at desired lengths. It'll work better and be a bit more manageable on your travels.

http://www.framesdirect.com/framesfp/Berks...e-tcmakj/r.html These are the ones David Scott showed me, and they're rather stylish.

My eyes are really bad so I can JUST focus the diaopter to my eye, so I'd like to get the specs to fit the view finder.

That's true, it is a bit less intense as far as fighting for jobs in school goes, but you still encounter a lot of competition. I forgot to mention, there are 4 movie theaters/screening rooms on film school campus. All are equiped to run 35 and 16, and the largest theater seats around 300 people and can run 16, 35, and 70mm.

I wouldn't call it relaxed, it's an intensive 4 year program with a heavy emphasis on hands on training and a high level of exposure to shooting 16mm film. They just this term added a Panavision 35 class they hope to perpetuate in the future. But at the very least you'll shoot 16 and Super 16 on K3s first. Then Arri S followed by the SRII and the SRIII High Speed. The equipment is great and well maintained, I should I know, I helped maintain it. If you're looking for a lot of hands on filmmaking classes and excersises I can't recommend the program more. With 3 sound stages available for production, a fantastic Production Design department, and some great teachers supported by a stellar staff it is a great school. It's currently going through some major changes, but all for the best. David Elkins, writer of The Camera Assistant's manual is the interum Dean of the film school and is overseeing some really excellent and exciting achievements. An animation program has just begun, and the school's film archive is one of the 3-5 largest in America now being run by Head Archivist David Spencer (a graduate of the Eastman House Film Preservation Program) and Assistant Archivist Matthew Jones. With around 30 thousand 35mm prints and a large collection of 70mm prints this is a massive drawing card for prospective students. As far as the cinematography program is concerned, our most famous graduate is Tim Orr, and two weeks ago Brian Melton won the Student ASC award. The cinematography faculty are David Elkins, Richard Clabaugh, Bill McCord, and new commer John Le Blanc. This is a brief overview, if you want more details, please ask.

I just had this conversation with British DoP David Scott last week. I don't like contacts either and I wear specs, he showed me his pair of British Board of Health eye glasses. The frames are the perfect size for eyepieces, even 16mm, fitting snuggly into them with no light leakes. These are also nice because they have the hooked earpieces which prevent them from slipping off your face. And they happen to be the style of eyeglasses Harrison Ford wore in the Indiana Jones trilogy. While these are now hard to find, they are worth the money and I'm currently seeking out a pair myself.