Scott Bryant

Yes i am using film. Sorry i forgot to be more specific. It will be kodak 250D 7205. David, a little confused by Do you mean driving into directional sunlight (early/late in the day) so that the interior will fill up with the light? Or having the light be coming from behind? Could you please clear up my troubled mind?

Also, I'd like to stay away from green screens or rear-projection. I've searched for this topic but haven't really found much.

I'm shooting a daytime car scene outside and inside the car. Is there anyway to help light the interiors for a little better exposure? I don't have a sun roof to work with. Is there anything outside of pumping huge amounts of light into the car while dragging everything on a trailer? Thanks.

Thanks for the answers. and so quickly at that. I think i'll check out bernie for the job. maybe get a laserbrighten while i'm at it.

Okay so i've had my NPR for a while and now i'm kicking around the idea of stepping up to super 16. I have searched the forums but haven't really seen much feedback about the quality/satisfaction customers have from certain converters (for lack of a better term). The following names have been coming up quite a bit Les Bosher Axel Broda P + S Technic CinemaTechnic CamerasPro Bernie O'Doherty I'd like to keep from breaking the bank, but do any of you have experience getting your NPR or other camera converted to super 16 from any of these people? No need to bad mouth any of them but anything i should be wary of? Thanks alot. Sorry this has kinda been covered alot.

This has nothing to do with the story at hand as I haven't seen the movie, but I'm from oklahoma. It's nice to see something regarding oklahoma in the forums. That is all.

Well i can see its in a building, but for I didn't realize for night shots you need so much light. Again I'm sort of a newbie.

Wow, that's certainly more artificial light than I expected. It's great to see what it actually takes to light something, which helps the less-experienced losers (me). haha

Back to the YOUTUBE video real quick. They talk about using only natural light, but what about scenes at night like the one at the farm house where theo is sneaking around outside the cars trying to get them out of there? Did they just use a very high speed film? It doesn't seem to grainy, nor does it seem like there is much like to supply a 500T stock. Maybe i'm just too much of an amateur and don't get it.

I know this is the wrong forum, but it would be sweet to see some new eclair models come back too. :)

If you're looking on the cheap, BeaulieuR16's seem to be pretty good, it's a c-mount lens, but it has an external 200ft magazine, is electric and you can get an adapter for the c-mount to a pl or b mount i think. And by the way if anyone wants one i have one i would be willing to sell. :)

I just got a Miller 8989 fluid head but the tilt seems to be way off, it tilts forward automatically. I haven't really used an old fluid head like this before, but my senses tell me i need it serviced. Has anyone had this problem or know who would be good to talk to about servicing it?

First of all, I can't answer your question for sure. I would assume you'd have to shoot at 30 fps to keep it from flickering. I'll admit though, that is a complete guess. I'm mainly responding because I'm interested in doing that too and i'm hoping to get some answers from someone who actually knows. So for what it's worth (and in an unorthodox way), I hope my reply helps.

Anyone had experience with the O'Connor Model 30 Tripod? Pros/cons? I can't find anything on the internet about it and I already searched the forums. Is this even the right place for this question?

What kind of head did you use with it? The only 075b's i've seen are rated at only 15lbs which isn't heavy enough for an npr

So I bought an Eclair NPR and now I'm looking for a tripod. I just didn't realize a tripod is going to cost as much as the camera itself. Any suggestions on some tripods on the cheap? Is basically everything that's worth anything over $500? Any recommendations would be really helpful. Thanks alot.

Honestly i'm not sure right now, i don't have it here with me. I just know its a dynamic mic. i've got an xlr converter to 1/8in jack going into the video camera. I'll check on the mic and respond back. I guess the better question probably is: is there anything i can get for under 100 bucks that's worth anything? If not whats the next step up? By the way its nice to see another oklahoman here, i'm just 50 min north of you in stillwater. If you ever have a shoot and wouldn't mind me tagging along on the set, i'd like to come by sometime. I like to see how other people run things. What kind of stuff do you usually shoot?

I'm recording sound for film on minidv and i'm getting alot of hisssing b/c i basically have to turn the gain up on the master sound track in final cut to hear the sound very well. This is really a dumb question b/c i think i know the answer. I'm recording with a microphone that is not a condensor mic, so no phantom power or anything. Is this my main problem? would getting a condensor mic increase my levels so i don't have to crank up the gain?

I've got an NPR and lenses for the ca mount seem pretty hard to find so i was thinking about getting a lens adapter to an arri mount but i dont know which one would be the best as far as number of options go. Any opinions on the type of adapter i should get?

Also with a smaller shuttle angle you can get choppy frames that look like saving private ryan. ( i know there are others like this not only spr).

Thanks so much for the advice.

yeah i still use focus on most of the scenes. i was just asing this for scenes with handheld camera movement to make it easier. if its steady and on a tripod then i really work on focusing properly. this still may be lazy but i'm just not experienced enough to pull the focus that precisely yet. as always thank you very much david. your info is always helpful and i'm honored you take the time to answer questions from amateur auteurs.

Generally speaking i know that DOF is primarily dependent on aperture setting, however i know some lenses tend to be so wide that they don't require focusing. If i follow this logic to its end (which may be a mistake) i reason that if a lens becomes wide enough, depth of field increases to infinity, so at every point in the frame the image is in focus. I know DOF and focusing are related but am i coupling them together inaccurately? If my logic is right, how wide does one need to get in order for focusing to not be an issue? I'm sure there is an equation to describe it based on focal length glass size and aperture however i haven't really found anything useful. Now to the meat of my question (and apologetically long post), i am using an Angenieux 12-120. How low of an aperture can i go and get away with not worrying too much about focusing? Can this even be possible? I know you have to get in a general ballpark but can i just spin the focus over to infinity or the 1.5 m mark from behind the camera and still be okay? Sorry about the long post for the rather simple question and i thoroughly appreciate anyone who has the dedication or will power to get through this whole thing.

I've never used that before, sorry. Also, you might get more of a response if you post a question like this in the sound forum down at the bottom of the forums page.

Olex Kalynychenko would know, he's the resident russian camera expert and i think he may actually do repairs on the K3 you can search the forum for his name and contact him or this is his website http://www.geocities.com/russiancamera/ he'll know what you should do.