Ernie Zahn

This is disappointing. I'm going to request a refund from them too.

Thanks! Found one called Metacorder. It's neat but it's als $1,000+! I'll stick the Soundtrack Pro license that I own already. I was just hoping there was a program that was good for meta data. I like organizing recording based on scene and take etc. This will do though. Thanks again!

Is there a specific film stock that's best to work with for green screening? Work with meaning, the stock that will featured the keyed color. Thoughts?

I had always wanted to try out this program Boom Recorder: http://www.vosgames.nl/products/BoomRecorder/ As you see on the site it was 10.5 only and isn't even available anymore.:-( It seemed great though, you had all your metadata on there, it was really made for film audio. Can anyone recommend a recorder out there like this for 10.6 OSX?

Hmm, this has given me a lot to think about. I do FCP on my Mac for bigger projects but I wanted something for on the go projects that I could later put on the Mac or for when I need to visit a client and they want to work with the project. I've had occasions where videography clients wanted to sit in on a session and it'd be a nice service for them if they could have the work brought to them rather than make them visit me. Adrian, I appreciate the tips and I'll inquire with Avid. Saul, Brian and Phil I definitely appreciate your perspectives. Phil, I've tried Cinelerra and you're right it's not all that ready for pro use as of yet. KDenlive is pretty descent but that too lacks quite a bit. The thing I'm mostly concerned with is that the NLE I want I'd like to have more in common with FCP in functionality. Vegas had quite a few differences in control. Kind of like switching from Photoshop to Gimp. Sure a lot of the same features are there but they don't operate quite the same way. So far it looks like a close tie between Premere Pro and Avid. What will break it is whether or not my laptop works for Avid's hardware requirements.

I might have misspoke. I was suggesting that HDV is a prosumer option. I have a MacPro (Early 2009) Quad Core at home with which I use FCP 7. That guy's got 8 GB of RAM too. I was intending to upgrade to 4 GB in my T61 but Avid is requesting some rather high CPU requirements and I was wondering if their requirement referred to more professional codecs (NOT HDV). I was hoping for a portable HD solution and would be happy with a prosumer codec editing set up for projects on my T61. It's just that Avid's CPU requirements seem a little excessive and I know that I've run FCP on 2 Ghz before while using a prosumer codec such as HDV.

Hmm, I didn't realize how well it works with FCP. That sounds great. I'm a little concerned about the hardware requirements though. I have a 2 Ghz Core 2 Duo T61 ThinkPad and Avid Media Composer need at least 2.53. That seems a little excessive to me considering HDV editing wouldn't need a clock speed like that to run well. Is that high rating assuming that I'd be using a professional grade HD codec? Something equal or greater to Apple Pro Res?

Can anyone recommend a good NLE for PC or Linux? These are the ones I've seen: WINDOWS Vegas Premiere Pro Avid Media Composer LINUX Autodesk Discreet Smoke K-Den Live Cinelerra I tried Vegas once but gave up on it and haven't found a great tutorial on it yet. I also tried Premiere Pro, it seems a bit sluggish. Has anyone tried Smoke? A linux solution would be neat. What are its limitations as an NLE?

I sent them an email. They never responded. So after a week of waiting I sought out their phone #, which is not listed on the site. After some google searching I found it on a small business phone book and left a voicemail. I gave them my phone number on the message. That was Friday during normal work hours. There has been no response yet but I imagine that if they didn't hear the message Friday then they won't till Monday. I don't have much confidence in them hearing the voicemail though. There were two phone #'s the first one I left a message and the second had a full mailbox. I think this company is run by one person and he has gone MIA. If he is no longer offering services then he should not leave his PayPal checkout open. He has my money and I have no merchandise. Here's the info I found on the company: Registrant Contact: Ickity Ackity Oop, Inc. Kent Bulza () Fax: 2808 Elm Street Unit 1 Los Angeles, CA 90065 US Administrative Contact: Ickity Ackity Oop, Inc. Kent Bulza (info@single8film.com) +1.2136521857 Fax: +1.3233751655 2808 Elm Street Unit 1 Los Angeles, CA 90065 US Technical Contact: Ickity Ackity Oop, Inc. Kent Bulza (kent@single8film.com) +1.3232702730 Fax: +1.3233751655 2808 Elm Street Unit 1 Los Angeles, CA 90065 US

I ordered a roll of RT200N film from http://www.single8film.com/ about 3-4 weeks ago and have gotten no confirmation or acknowledgment of my order since the purchase. We've had to cancel a shoot twice because of this film not getting here and we still haven't received it. Has anyone ordered from them recently? What's going on there?

3 Kodachrome and 3 Ektachrome rolls of sound film along with 1 AGFACHROME silent roll. All are sealed and all have been stored in a cool dry place. I'll double check the expiration dates. This is not particularly cine, but it's photo. I have an unused box of 669 Polaroid slide film printing sheets. This box is from the last run when Polaroid discontinued it last year. These all must go! PM if interested.

Hi, I'm going to be doing a whole lot of splicing the next few months. About 47 400' reels worth. I was wondering if anyone could give me some good recommendations on splicing supplies. Thus far Spectra seems to have an ample supply of splicing products. There are a few different ones and I've only done cement before (mine is broken and I don't really have any more cement). I was thinking of moving into tape, it seems more efficient and I'm doing this for telecine purposes, it seems to be the way to go for telecine purposes. Viewing that site, there are a few different splicers that range from $30 to $100. Which would causes the most nightmares which is easier? Any feedback would be much appreciated!

That looks great! Does your facility also offer 1080p? All I saw was 720p.

The attraction to HDV is the affordability of it. A common misconception of HDV is that you lose resolution. It is still 1080i/p (depending on if the device is i or p) what is compressed in the color. To the untrained eye the color compression is negligible. To someone shooting on a negative stock doing some very unique color manipulation it might be more noticeable. Right now I'm working on a S-8 project telecined to 1080i converted to 1080p and color corrected in post. I'm working with some talented colorists and we've created some nice images. These frames are NOT final products but they are a small glimpse into the kind of results that HDV can bring: This one is V2 200T These ones are E64T

The worst possible thing happened today. I was loosening my tripod, lost grip and the my Beaulieu 6008s toppled over landing on it's lens. I test the motor and all functions and everything seemed fine but then I looked through diopter and it looks really fuzzy like portions of the viewing area have been fudged out. The top left corner of the frame and vertical portion on the right side are fine. But the rest of the frame is fudged out, I'd say about 85%. I have never in the past had any kind of field damage or accidents before and my first one happened on my prize S-8 camera. I took it to a camera place and they said it may be an issue inside the lens but when I detached the lens and looked through the body itself, it seemed that that same fudgy area was still there. It looks as though something is dirty and needs to be wiped but I don't want to run any risks on wiping those mirrors unless I thought it would be the right decision. I really have never seen this before as I've never ever damaged any of my cameras in the 15 years that I've been shooting S-8. Has anyone seen this before? Is my camera a paperweight? Is the cost of repair waay to high? I paid about $800 for this camera. Also the drop was about 2.5 feet and landed on the lens. It would mean the world to me if you could get some good news, but really feedback in general is really appreciated.

If anyone could recommend a descent condenser mic in the $100 to $200 range for field recording that'd be much appreciated. We have a cheapo camcorder shotgun mic that we've been using that actually sound quite good considering.

Cool thanks for all the input everyone!

Much appreciated. I'm looking forward to it. :)

Thanks for the replies Gareth and Adam! Gareth, Would you by chance have an audio clip I could hear?

Hi, For those who do live sound with Super 8, how do you eliminate that motor noise from the camera? It's quite noisy in an enclosed room. I've been using a hoody sweatshirt but it's not doing the job and I need to constantly remove it for focal/exposure changes. I know there's foam that is made to absorb the sound and that people use it, I don't know names or where to get it. Does anyone know? Does anyone have a home made solution? My cam is Beaulieu 600S, quiet but not quiet enough and filters on audio software are limited. Short of looping the entire soundtrack, what can be done?

Hi, I'm desperately looking for the Fujica Marine camera or a single8/super8 camera that can handle underwater filming. Please let me know via PM or at ernest.zahn@gmail.com Thanks!

Thanks for all the input! I like 1/4 or 1/2 size idea. I'll give it a try.

Hey, So is anyone else trying to figure out ways to reduce paper consumption on the set? I had an Amazon Kindle for a little while, I picked it up cheap but I really didn't get much use out of it. I have text books for school, most of which are not available in ebook form, and the only other documents I read are screenplays and shot lists etc. I'm not really using this device for it's full or true capacity if I'm just reading documents. Besides the cost! I got mine really cheap then sold it on eBay and had lot's of cash for other set expenses, Most people have lap tops but most lap tops don't last much longer than 5 hours and we'll be out doors shooting for 12 weeks and 8 hours each shoot a day. The simplest solution is just to share a minimal amount of scripts/shot lists etc., but now there are way too many cast and crew to really make that feasible. Of course, if thats the most common solution, then it's probably the best one. If you're making "Green" efforts, what do you do to reduce paper consumption? Even if you don't care about trees, maybe you're doing it to cut costs. What are you doing?

thanks for the advice!

Let me add to this question... there are many forms of lossy audio. how bad is the lossyness of ATRACK1 format? standard minidisc is ATRACK1 and we'll be editing with logic and soundtrack pro to create a 5.1 surround sound soundtrack. it'll be exhibited in movie theatres. will the human ear distinguish the difference? what will be missing by not using a lossless source?