Patrick Neary

but you still only have 30A total to use, still within the capacity of the #10 wire, and still limited by the 220/30A breaker, correct? Most stoves split 110 off of their incoming 220v to power the clock, light, receptacle, etc. I assume it's a similar idea (?) As an aside, if you want to see fun with electricity in filmmaking, check this thread out (you'll have to scroll down a bit): http://www.cinematography.com/forum2004/in...?showtopic=5479 I'd love to hear what an electrician thinks of that!

Yes, they probably want to work on paying gigs. A Dp's gotta eat. I can only speak from my experience, but the idea of setting aside (or even not being available for) a $$$ job for a no-$ "job" isn't very appealing. Especially when (at least I've found) the vast majority of anemic DV productions are ill-conceived garbage (not implying yours is) that end up littering the producer's closet, if they are finished at all. Come over and help me paint my house this summer, i can't really pay anything, but it should look fabulous when it's done!

american cinematographer, Oct. 2003 has a good little article about it!

...and did you catch John Bailey's comment to the producer that because they were shooting 24p, the tape had to go to the lab, just like film!

maybe, maybe not, but the negative stocks offer soooooo much more exposure latitude and more versatility in available asa speeds.

welcome to the russian-roulette world of short-ends! Anymore, I just assume that all shortends and recans are fogged, it's just a matter of how much. If you're going to telecine, not such a big deal. If you're making a print, it can be a very big deal.

yes! you can get everything to build your own box (except maybe the actual plug, which any appliance repair place should have) at Home Depot. (or is it Chateau Depot over there?) :)

Do any of you dunk your lanterns in some kind of fire retardant, or (like me) just keep a close eye on them while shooting? Any good "flame-out" stories?

you can hand crank most bolexes (with the backwinder crank, kind of small, but does the trick), and the B&H filmo 70Dr (and i think the HR and KRM) with the motor drive hole below the spring drive housing. I don't know about the filmos, but with the bolex, the camera's speed governor actually makes it pretty easy to stay on-speed when hand-cranking!

a simpler solution is to get a "distro box" (not a stage box but just multiple edison outlets) that plugs into a stove or dryer plug. Then you have a nice bit of power to use, usually 30 or 40 amps, but make sure the box is set up for splitting the 220 into 2x 110. Most gaffers I know have made one of these at one time or another, and often times you can find them at your grip/lighting house. There are a number of different plug shapes/sizes, though, and finding the right connector is usually the hardest part of the equation...

Hi- I would think that minor exposure variations would be a nice part of a hand-cranked look...

Hi- I bought some arri accessories from them years ago, and they were very friendly and great to deal with (if a bit expensive) I was especially impressed how clean the stuff was.

Birns and Sawyer made a 2C base like the square hi-hat in the picture that Rolfe linked to, but it had rod holders built into it.

I know this one isn't very uber-hip, but it's the first shot i ever remember seeing (on 4:3 black and white tv no less) where i was suddenly aware of the "craft" of a shot: It's pretty much the pinnacle of desert crane shots, very classic and simple, but enormously powerful. Lawrence Of Arabia is full of that kind of thing- (as an aside, i think my screen capture squished this to 16:9, ack. apologies)

I can address the advantages of 1.33 S-35 (and repeat myself from another thread), as i switched from academy to "big TV" for shooting tv spots- The main advantage is the much bigger negative area we telecine from, and that's a very good thing if the director is grain-o-phobic. The disadvantages might be that if the Ac finds even a small hair or spuzz in the gate, it means a retake; there's no room for slop, where you can get away with finding half of someone's toupee in an academy gate. Also a there are lenses out there that won't cover the full S35 frame, I haven't run into any yet, but my understanding is that it's mostly older zooms. It's easy to check during prep, however.

hi- if i can toss this out... day-for-night is a harder sell in populated areas because it will be very obvious that no streetlights/headlights/etc are on in your shots. Getting an exposure won't be a problem with that stock (depending on your location), but you would want to be careful about where you place your subjects so that they are sidelit, backlit, silhouetted, or somehow seperated from the background. Even if you're not taking along any lighting package (it sounds like you aren't) bring a little battery operated light or two for soft fill in your close-ups, it can make a world of difference!

I'm not aware of any significant differences in the "guts" of the cameras. Motors and mags are all interchangeable, AFAIK. But take into consideration that most 2Cs are going to be a bit younger, and probably better condition than their much older 2A or 2B forebears. And the viewfinder upgrade to the 2c is no small thing either, it makes it much easier to use (especially with the periscope finder) and more flexible. I never did side-by-side comparisons, but the 2C's finder always seemed much brighter to me as well. That's gotta be worth a few more bucks!

the filmo is the pretty much the funnest (most fun?) camera ever. But remember to oil that pup- I was shooting handheld aerials out of a cessna's open window once and the camera started screeching louder than the airplane, it scared the pilot!

bad math, i believe you would skip every 5th frame to get from 30 to 24fps. undoubtedly this would produce a noticeable judder.

Hi- really really REALLY nice looking! was this strictly an optical blow-up to 35mm? Was there anything you would do the same/ differently if you were to go through the same S16-35 process again? thanks for any insight-

As a user of both (and once-proud-owner) the only difference i noted was the viewfinder, which is much better on the 2C; it has a more standard arri threaded eyepiece, allowing a periscope finder, etc. The 2B just had a tube VF which you couldn't really add anything to or swap out. The doors may be slightly different also, I'm not sure if you could swap a 2B door with that of a 2C. Functionally, they both are about the same camera.

With a single frame method, I suppose you would need to figure out a way to translate the 30-frame video (assuming 60i ntsc) to 18 or 24fps super8. either processing through after effects/magic bullet, or skipping every 4th (?) frame or so... that sounds like a very tedious weekend..... it would be interesting to see if it just looked awful, or if it actually works.

I apologize in advance for being so ghetto, but (if it's not a 4-hour documentary) why not just shoot it off of an LCD computer screen frame by frame with a super-8 camera?

Hi- I don't know about specific conversions of that lens (I've never heard of anyone doing it to the 10-150, if it's even possible) but the folks at Visual Products, or Whitehouse AV, or a dozen other shops should be able to tell you with a quick phone call. If you use the lens as-is, you'll probably see vignetting from 10mm up to about 17-25mm (or so) before the image circle of the lens widens out to cover the entire super-16 frame. Somebody here most likely has used that lens for super-16 and can verify at what point it stops vignetting...

Believe me, if you can find $3 million, you won't have any trouble finding a good dp! :P