Patrick Neary

I think most of TAG's stuff goes straight to cable or video. I shot half-a-dozen additional scenes (all the stuff with Wayne Rodgers) for "Miracle Dogs" and while they did show it theatrically in Cleveland over one weekend or so (where it was shot) it's main home was Animal Planet. RRH has been in the works (so to speak) for quite a long time, though, hasn't it...

Hi- I'm a huge fan of the Cook 20-60, I'll be interested to hear your impressions of it! size-wise they're quite compact, but they seem to be harder to find than the 20-100's.

As mentioned earlier, FAST RUNNER was shot in Standard Def NTSC Digibeta- here's the place that did the amazing transfer: http://www.digitalfilmgroup.net

i saw an interesting interview with Ken Burns where he described shooting all those old photographs for his documentaries- he said he liked to paste them up on a magnetic board and shoot them "live" because it gave the footage a more human feel or something to that effect, i guess as opposed to the clinical-smooth moves you'd get from after effects.

if it's just being developed, all you need to tell the lab is "process normal" (or pull or push, and how much, if you want them to do that) If it's destined for the telecine, then sometimes you ask "prep for telecine". Talk to your friendly lab people, they'll walk you through anything you need to know. In terms of development, they don't reference your gray card, that comes later with telecine or workprinting.

NTSC Digibeta, and it looked amazing on a 35mm print. Better than some HD stuff I've seen in theaters...

Hi- I'm curious about how you're handling widescreen for your project (assuming it's not 4:3)? Are you cropping in camera or using one of the anamorphics, and any reasons for arriving at that particular decision? Thanks- i look forward to your updates-

you might note that this is a lens designed for 35mm, so while it would work just fine on a super-16 camera, there are plenty of smaller and lighter weight lenses out there already for s-16 (and that give a wider and longer ends of the zoom range to boot)

maybe they're ND-ing and opening up for shallower DOF?

Hi there- "blix" is a combined bleach/fix. just as an aside, I'm not the world's biggest fan of Unicolor chemistry, when i was a newspaper photog, we used it for our e-6, and the processed slides would consistently fade and turn green, sometimes starting within a week or two. Kodak chemistry didn't do that (but it was more expensive, so guess which one we used most...) Maybe they've changed their formulations or QC since then.

i wonder if someone (Bruce?) could replace the front turret with a recentered "C"/PL/Nikon/etc. mount (the same way most eyemos are converted to PL or Nikon/Canon mounts) ? Last time i checked eyemo mount replacement was about $1000, so if work on a Filmo was similarly priced, it wouldn't be a bad way to go for grab shots. It seems an easy job to file out or replace one of the viewfinder masks, and just change objectives as you change lenses. Although if you were using PL or similar lenses, they would probably block out most of the viewfinder's view anyway.

hi there- it may also depend on the individual manufacturer- I've always used DCC on with Sony beta and digibeta cameras, but am very careful about using it with a JVC dv5000- there can be a very noticeable fluctuation.

I wonder how far you need to go outside of LA to not run into other crews and fervent permit-checkers... I shot a friend's short film at vasquez rocks (a county park, i think) about 20 miles east of Santa Clarita, it was comical to stand up on one of the higher rocks and look around, there weren't any "real" people in the park- everyone had a clipboard and/or director's finder, or were shooting something. Off one side there was a fashion stills shoot, look down the little draw and there was a music video, off the other side some bizarre S&M student film, and then the next day "Evolution" rolled in with about a dozen huge trucks to shoot what I understood were a few insert shots. anyway, the park's main function seems to be as a movie set and you see those distinctive rocks all the time on TV and in films.

Hi there- I did a shoot in 120-degrees in New Cuyama, CA- keep the camera covered with a reflective blanket, our SR3 got too hot to touch! I was worried about the film (also fuji), but it pulled through just fine, maybe because we were only out there a day, and kept it in coolers. you'll see your actors and others start to drop like flies if they don't keep a lot of water and shade available!

Hi Alessandro- "Inaccurate" is sort of endemic to super8 cameras' light meters...having grown up with super-8, i can safely say that the meters of most super8 cameras i ever used were not very carefully calibrated right out of the box when they were brand new- I can't imaging how off most of them must be 20 years later. I would think if you were truly that worried about 1/3 or 2/3 stops in your exposure, you might start metering manually. I remember as a kid craving a camera with manual exposure so as not to rely on the stinker auto-exposure systems of those little cameras (yes, even the good ones)!

Hi there- as a regular commuter down there, i can toss this out- i fly into burbank, get a rental car, take a left out of the car lot onto Empire, drive about a mile or so and there's an Extended Stay Hotel in a shopping complex (complete with starbucks, Lowes and a sushi place)- it's a safe, decent place, and VERY easy into and out of BUR, which is handy. And it's good access to anywhere in Burbank. have fun!

hi there- i made a 6x from the skinny metal electric-conduit pipe, connected with the little screw on elbows, it works great, super-easy to make, costs nothing and is a bit more rigid than PVC. i suspect you could build a frame much larger (using the bigger diameter conduit) as well, and you can either clamp directly to a c-stand or drill holes midway up the frame and add bolts. It holds a big sheet of white ripstop (gussets on the corners and edges) tied to the frame. it also doesn't look too DIY, if that's a consideration!

hi there- not that i've had the pleasure of shooting an exploding warehouse yet, but maybe, despite the tricky scheduling, shoot at dusk-ish? It seems like the fireball is such a brief bit of action that (while you don't want it completely blown out) a couple frames of overexposure wouldn't be worth sacrificing the overall ambience for. Or 2 cameras (you're using a couple I assume?) with the tighter shot stopped down a bit? If you're shooting 5218 I'm betting it will hold a surprising amount of the highlight detail.

hi there- I think they are heavy and pretentious. Also very nicely made! there are much cheaper (and smaller) alternatives out there (check filmtools) but it seems as a student ( i promise i'm not lecturing) that a director's finder should be way down at the bottom of the priority list...there are just so many better things to spend $$ on, like filmstock.

>Plus, you can shoot it (at least for now) in 16mm, maybe it's time to make the switch ? I mean if you're really dedicated to this emulsion, follow it to where it is.< now there's a voice of reason! I have to admire Mr. Machi's dedication to K40, but I still don't understand the personal fuss over how many carts would potentially be sold per day in Hollywood....why not just go shoot the stuff as you like (and while you still can) and let the bigK worry about market share and sales and such... http://money.cnn.com/2005/05/11/news/fortu....reut/index.htm Coincidentally, Kodak seems to be in a bit of a transition, probably on account of their decision to discontinue super-8 kodachrome. ;)

true on the lighting, but i appreciated the thought that went into some of the compositions, surprisingly well-thought out, as opposed to a typical no-budget shotgun/spray-it/video approach-

this is madness. Maybe someone has already pointed this out, but last time I looked, most of the major camera manufacturers had stopped making super-8 cameras. like, 20 years ago. who's going to start a petition for that... I LIKE super-8, (even K40) it's fun, but get a little perspective here....

I have a hard time believing that 200-300 S8 carts are being shot per day in the entire Western US, much less just K40 in LA (much less just in H'wood!) those are pretty specific *figgers*, sorry, but i'm trying to figure out exactly where your market research is coming from... :blink: Kodachrome has been in the critical care unit for years, i think anyone remotely involved in still photography has realized that, it shouldn't be a big surprise that it is slowly fading away, it's kind of sad, but there are a lot of other filmstocks out there.

i tried the camping chair thing once and it was immediately commandeered by make-up (!) good shoes are about the only way to go. Plus you just have to be up and around a lot. It's enough to make you want to be a sound-mixer. B)

>nice MS models go for high dollars (usually $1000 - 41,500-ish), that must be one fine scoopic! :)