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Bo Price

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Everything posted by Bo Price

  1. Hey guys, I'm shooting a film tomorrow and the audio guy has a good question and I don't know the answer. We're shooting on film, so 24 fps, and then I'll finish on video, so 23.97. What is the proper audio fps and sample rate? He suggested 30 fps at 48.048 khz, so during the pulldown it becomes an even 48khz. I assumed since we are finishing in 23.97 and not 29.97 we shoot audio at 24 fps and 48.048. But this is all confusing to me and I'm out of my element. Can anybody help? Thank you so much! Bo Price
  2. Hey everybody, Does anybody, by any chance, have a 16mm Canon Scoopic MS Battery Charger? I seem to have lost mine and I have a shoot coming up. I'd like to buy one -- or any tips on where I could find one in the Los Angeles area. (Duall Camera in NY is sold out... That's been my go-to in the past.) Thanks so much! Bo Price
  3. Hey everybody, On another thread awhile ago I saw somebody looking for advice on how to achieve that "Kodachrome look" when there aren't many reversal options left. There was a great suggestion to try making a print of the negative, and transferring THAT. Has anybody done this, and does anybody have any links to the results? 20 years ago in film school, I remember getting a 16mm work print transferred to VHS (!) and I remember it looked cool, but that was a long time ago and I don't still have it. I would love to see iif this is worth doing, or if it's too much hassle / expense for something that could maybe be achieved just as well or better in a standard telecine with the right colorist, etc. I'm shooting a Super-16 film later this month and I, too, would love that heavily saturated reversal "look". Thanks so much for any advice, Bo Price
  4. Hey everybody, I'm looking for a rooftop to shoot a low budget short film on -- preferably around downtown L.A. Eight years ago this forum came through for me with a fantastic choice -- United Pacific Studios -- that is unfortunately no longer a studio, and they won't let us go back. We are looking for something urban, gritty, dirty, etc. And most importantly, something that has different levels on it, separated by little dividers -- like New York buildings do between different addresses. What we need is something where somebody can jump off one of these levels, and with a low angle camera, it looks like they are jumping off the building, as we see them disappear below. Please attached pic -- this is from the old United Pacific rooftop that is no longer available. If anybody has any leads, please let me know. Any help greatly appreciated. Thank you so much! Bo Price boprice@gmail.com
  5. Hey everybody, I’m shooting a short on Super-16 film at the end of October in Los Angeles and I’m looking for a DP. I’m hoping to shoot on an Arri 416. (The last time I made a Super-16 short I used the Aaton A-minima, which I loved, but apparently that is now defunct.) So... I would love to talk with anybody who has extensive experience with the 416 -- loading, etc. Also, if any anybody HAS the 416, that would of course be a double bonus. Or if anybody KNOWS a DP with his own 416, please pass this along. We are low budget, but THIS IS PAID. Please contact me privately and I can tell you more about the project. Tone wise, it’s (hopefully) a mix of “Willy Wonka” and “Jackass”. You can see a link to some of my previous shorts below. Thanks so much! Bo Price Www.boprice.com Boprice@gmail.com
  6. Hey Edward, Congrats on the Leicina Special. I got one earlier this year and am very happy with it. The eyepiece falls off ALL THE TIME, though, and it's very frustrating. (I thought mine didn't come with it, since it wasn't attached, and I had to fish around the case to find out that it actually WAS in there somewhere. If it's not too late, maybe double check..) But with the Macro Cinegon, I've shot some great images with it, and it's nice to have a camera so small and portable for trips, etc. But I've had to double back several times after a shoot to find the damn eyepiece in a field, etc. If you find a place that sells them, please let me know because I'd love to buy a spare! Good luck! Bo
  7. (Sorry for the double post -- I maxed out my pic space, and tried to add another one here, but I guess you can't do more than 100K ever?)... Anyway, the SD transfer was not grainy at all. And if anything it looked a little over-exposed, or was transferred a wee bit hot. But basically I just want it to look like an old Charlie Chaplin/Little Rascals movie. So perhaps I should just take a picture of *that* to the transfer! Thanks again for the feedback/advice everybody.
  8. Thanks, Paul! I'm not sure what machine was used, but I *think* it was the Spirit. I get that when something is underexposed it can get really grainy when you press it to get to proper exposure, but I'm pretty sure we overexposed it by .5 stops, like we did the color stuff, which wasn't grainy at all. Also, I've transferred the B&W in standard def before, and if anything it looked a little overexposed there too (or was transferred a little hot), so I'm curious why the telecine reads the grain so differently in B&W versus color, at least in HD. (Below is a pic for those who haven't seen the footage.)
  9. Hey everybody, i've been transferring some regular 16mm film to HD, and importing directly to Avid and everything looks great. Except... I feel like my B&W has a LOT of grain on it. And I don't mind grain (I'm what you might call a grain man), but on HD the grain can look so overpowering it doesn't look like we shot on Plus-X, but rather Tri-X or maybe even Super-8. There is simply that much grain. Now on the same days we shot color (50D) and it's great. Crysral clear and no problems at all. Is this a common problem? I've had some of the b&w transferred at SD before, and it wasn't grainy, so I'm just curious if going to HD has a much larger effect on B&W than color. I've attached a link below to give some examples of the difference between color and B&W. These were shot same time of day, same camera, one with Plus X B&W (ASA 80), and one with 50D Negative, and we tried to over-expose both about .5 stops. The difference isn't quite as pronounced after the compression, but it's still there. Anyway, would love feedback. I have another session soon, and I'd love to know what's normal, typical, and what I should try to push for, etc. Or if I should just suck up and let the grain do its thing. Thanks! Bo
  10. Great job, Paul! Very, very well done. Yes, I'd also love to know what stock/camera was used. Razor sharp focus, great colors, the works, really.
  11. Thanks, Phil! Nicely done. Was that all just adding digital filters, etc.? I've added grain before by simply taking pure white (completely overexposed" film footage, and superimposing over digital stills, and that helps a little. It's been awhile since I was in film school, but I remember there being some company (this was in New York) that could do credits on film, and if there is anything like that in Los Angeles that still works "old school" -- and preferably cheap, because I'm almost out of money -- that would be great. It is crazy, though, how little thought/effort goes into closing credits on projects that probably cost millions per episode (I'm looking at you, HBO). I know credits aren't *that* important, but sometimes the font is so amateurish, etc., they might as well add a sawtooth wipe or shattered-glass effect while they're at it.
  12. Sorry, I don't think my example posted. Something like this...
  13. I'm making a short film (on 16mm), and am trying to get an "old-fashioned" look for the credits, a la Charlie Chaplin, Or, at the very least, simple credits that are actually on film, with the grain, flicker, etc. -- as opposed to something done in the Avid Title Tool. I assume every student film that was actually finished on film has solved this problem nicely, so any help appreciated. Is there a company that does this for cheap? Or any other ideas (other than simply shooting title cards with a camera on an animation board?) I've noticed a lot of big TV shows that are shot on film skimp on this, and it always feels odd. I've seen several shows on HBO, shot on film and everything looks great, and then the credits roll, and suddenly it looks like it was made on somebody's laptop with iMovie. Anyway, any help appreciated. Attached is an example still. Thanks! Bo
  14. Hey Mike, Yes, Spectra does really good work. I used them entirely for a project a few years ago and the telecine was great. Also, they transferred a bunch of old color 16mm film I had -- from 1939! -- and they did a fantastic job. The film was so old, they had to resplice all the edits, but the results were amazing (and also a powerful testament to the enduring quality of film). I think they spent a lot more time on it than they charged me, and I could tell they were excited by the uniqueness of the project -- which was fun and very much appreciated. This time I needed to hit a last-minute deadline before going out of town for 2 weeks, and they weren't open on the weekend, and I was sort of in a pickle. So that's why I ended up somewhere else. But I do recommend them, and have, and am glad to hear they are getting HD capabilities. (And for Super-8 enthusiasts, you should check out their Velvia stock. It's a trickly little film, but if done right, there's really nothing that looks like it. If you youtube "Velvia" and "Disneyland" you'll find a great little test roll somebody did that is magical and another testament to the power and immediate emotional impact of film that (for my money) does not exist in video.)
  15. I went back to Fotokem this morning and we got it all squared away. I met with their direction of operations, Matt, and he was EXTREMELY helpful, courteous, etc., and he spent almost two hours with me, going over everything, troubleshooting, etc. Basically there had been a small error in the initial frame size set up (the SMPTE frame), so that explains why it looked a little large/soft, etc. But they are going to redo everything, and on top of that, he's going to let me go to HD at no additional charge, so I'll end up getting a better quality end-result than I initially paid for. So I really appreciate that. As I mentioned, I'd heard they were as good as you can get, and everybody else had confirmed that on this thread, so if for any reason anybody has a hiccup, do know they have great customer service, and will do anything/everything possible to fix it. Thanks also for all the advice on this board, everybody -- this has been a tremendous resource and I really appreciate it. Oh, one last thing. I'm going to HD, and Digitizing into Avid at 24p. Does anybody know if it's better to digitize at 24p or 23.97? All these conversions make my head spin (and I'm an editor!). Thanks again -- Bo
  16. If you transfer 16mm to HD, how does that differ if you output to regular DVD? In the past, I've noticed DVDs I've made of film-originated material looks much better on old tube TVs that newer HD TVs. Yet DVDs of other films shot on 16mm look just fine on a regular DVD player, not Blu Ray, etc. Maybe there is a different compression or something. I've seen some other threads which mentioned comparisons of the same 16mm footage transferred in SD vs HD, but the links were dead. Does anybody else know of any online comparisons between the two for 16mm? I'd love to see the difference side by side.
  17. That's good to hear -- I'm going back tomorrow morning and hopefully we can figure it out. I output to DigiBeta. The Mini-DV was a dub from the Digi to edit with. Maybe it was a bad dub somehow from the Digi to Mini-DV, but I've never seen a dub be *that* different. I've done this workflow before and when I uprez'd from the original master tape, it looked exactly the same as the Mini-DV I worked from. I should perhaps have gone to HD, though, not SD. Does anybody have any examples of 16mm footage transferred in Standard Def versus HD? My only concern was any mistakes might be exaggerated in HD, but maybe I'm over thinking it (or under thinking it). Thanks for all the replies, everybody.
  18. Thanks for your reply. But does that alter the focus? I can understand the color correcting being "middle of the road" but this stuff looked soft, like it wasn't done on a good machine. Also, I had black and white and color done, and it both had the same problem. I stacked the two transfers in my timeline on Avid, and could see frame by frame the difference -- the Fotokem one was slightly enlarged -- like how on Plasma TVs you can do "fit to screen" and everything gets a little softer. I sure hope it was just a weird dub from the DigiBeta to the Mini-DV. (When I was in the room, everything from the negative looked good on the monitor.) Anybody else transferred from 16mm to Fotokem with good results? For $350/hour, I would think they'd be the best you can get...
  19. Has anybody else transferred 16mm film to video at FotoKem? I've used Spectra before -- usually with really good results -- but they couldn't do it as soon as I needed it, so I paid a higher price and went to FotoKem. I supervised the transfer, and the guy was great, and everything was looking good on the monitor. But when I got home with the Mini-DV (dubbed from the DigiBeta master) everything looked soft. My heart sank a little. But I had a couple of the same rolls transferred by Spectra before, and I was able to compare them. The Spectra transfer was crystal clear -- a little too hot, but the focus was perfect. The FotoKem one looked like it had been enlarged slightly, and overall was dull and ugly. I'm going back early Monday morning to talk with them. I'm not sure if I should have them do it again or just try and get a refund and take it back to Spectra. Anyway, if anybody has used both and has an opinion, I'd love to hear it!
  20. Hey everybody, Let me change the rate. Same details as before, but $300 (cash!) for an 8-hour day. So: Next Wed/Thurs (July 21-22), in Studio City, California. I know this is probably still way below market rate (what is market rate?), but this is a self-funded project, so we really don't have much money. But I would love to get somebody who reads this board, since everybody here takes things very seriously, and this has been a tremendous resource for me over the years. If you know anybody who may be good for this, please have them contact me as well. Experience with a Scoopic MS a plus, but not essential as it really is a pretty simple camera. Thanks so much, Bo Zoner13@aol.com
  21. Hey everybody, I posted this in the "jobs" forums, but I figure more ACs probably read *this* forum. So here goes: I'm shooting a short film next week in Los Angeles called "Time and Love." It's about a 30 year old guy who tries to look up the girl he was in love with in 6th grade. Most of it is 16mm B&W, except some flashbacks to childhood, which are a 16mm/Super-8 combo of color. We're shooting on a Canon Scoopic MS, and also some Super-8 (Leicina Special). So the cameras are pretty simple. But nevertheless, I would love an experienced AC to mind the cameras. Load, unload, check the gate, measure focus, etc. And more importantly, someone to serve as a second set of eyes/brains while I'm shooting, so I don't do anything *really* stupid. This is a very low budget affair -- I'm funding this myself -- so there is not a lot of money here, but I could pay $300 (cash!) for an 8-hour day. This is the only position being paid, as I know how valuable (crucial) a good AC is, and so I'm very grateful for anybody who's up for it, especially since this is less than normal market rate. The days are next Wed/Thur (July 21-22), and we're shooting in Studio City, CA. If you are interested, please contact me ASAP. Or if you know anybody who may be interested, please have them contact me as well. Thanks! Bo Zoner13@aol.com p.s. I made a short film a few years ago that you can view: http://www.imdb.com/...b/vi3057582873/ This is in a somewhat similar "spirit" to that -- but the subject matter is much different. Thanks again!
  22. Thanks, Adrian! We are shooting in Studio City. The days I really need help on are next Wed and Thur (July 21/22).
  23. Hey everybody, I'm shooting a short film next week called "Time and Love." It's about a 30 year old guy who tries to look up the girl he was in love with in 6th grade. Most of it is black and white, except the flashbacks to childhood, which are a 16mm/Super-8 combo of color. We're shooting on a Canon Scoopic, and also some Super-8. So the cameras are pretty simple. But nevertheless, I would love an experienced AC to mind the cameras. Load, unload, check the gate, measure focus, etc. And more importantly, someone to serve as a second set of eyes/brains while I'm shooting, so I don't do anything *really* stupid, like forget to get an obvious and simple shot. This is a very low budget affair -- I'm funding this myself -- so there is not a lot of money here, but I could pay $200 for an 8-hour day (cash), and $25/hour for days we only go a few hours. This is the only position being paid, as I know how valuable (crucial) a good AC is, and so I'm very grateful for anybody who's up for it. If you are interested, please contact me ASAP. Also, I made a short film a few years ago you can watch on imdb: http://www.imdb.com/video/wab/vi3057582873/ This is in a somewhat similar "spirit" to that -- but the subject matter is much different. Thank you! Bo
  24. Great, thanks for the help, everybody! Will be teeing it up this weekend...
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