Jon Petro

http://cgi.ebay.com/Eclair-NPR-Super-16mm-...93%3A1|294%3A50 Listed on Ebay.

For Sale: Eclair NPR Body: Super 16mm (Converted by Bernie O' at Super 16 inc.) PL Mount (Machined by Visual Products to replace Camflex Mount) w/ Port Cover C-Mount (Re-Centered by Visual Products for S16mm Aperture) w/ Port Cover Variable Shutter (From 180 down to 5 degrees) Registration Pin for Rock Steady Movement Angeniuex Orientable Viewfinder 1.85 Cinema Projection Marked Ground Glass (Laser Brightened by Bernie O' at Super 16 inc.) Arri Lightweight Rod System Installed (Machined by Duall Camera in NYC) 15mm Lightweight Rods Has been completely Overhauled by both Bernie O' and Visual Products. Every screw replaced, movement is smooth and perfect. Motors: Eclair Beauviala Crystal Sync Motor (Crystal at 24 FPS) Perfectone Compact Crystal Motor (Purchased as a Backup, tested by Bernie O' runs at 24.01 FPS, so needs service to be your main crystal motor. It is a lighter weight much better motor though, and these are hard to find. I had planned on having it overhauled with digital interface by AZ Spectrum but now I am selling the camera.) Magazines: Two 400 Ft. Eclair Mags (the ones with the better pressure plate) Optimized by Bernie O' for Super 16mm Use. Batteries/Power: Bescor 12 Volt Battery with Belt Strap 8 Amp Hours (Lasts for lots of shooting) Vector 12 Volt Battery with Belt Strap 5 Amp Hours (By Duall Camera, lighter than Bescor) 12 Volt Power Converter Box for Indoor Plug-In Power (A Bit Old and Heavy but does the job perfectly) 4 Pin XLR Power Cable Everything (minus power converter) fits into two Eclair Metal Cases, one for Camera and one for Magazines. They are built like tanks and foam is cut perfectly. This camera is in perfect running condition and since it's last service by Visual Products has only shot about 3 thousand feet of film. Most NPR's out there will come with lots of problems that need fixing. Well I have already done that for you, as well as upgraded the camera to S16mm and PL Mount, making it ready for high quality lenses and low grain 16mm film stocks of today. In fact, I purchased two NPRs and combined the best parts of both to make this package. If a new owner were to get the Perfectone Motor Overhauled and install a video tap it would compare very well to an Arri SR Model (in my opinion). This is a fantastic camera in great cosmetic condition that I am sad to see go. I will be listing it on Ebay and some other sites by next week, but wanted to give this forum first dibs if anyone out there is interested. $4,000 or Best Offer (Cost me a lot more to put together) Email me with offers at: jpivko at gmail dot com Or ask your questions below Thank you.

It is fuji stock and I must say it was awesome. The camera and lenses were rented from a rental house in Boston that I do not want to mention because I do not want to endorse them in any way. I am pretty sure their camera they rented us was stolen from CSC. The lenses were in pretty poor condition too. But because of these circumstances our package was so cheap so that is why we went with them. The whole production was paid for by credit and borrowed money from loved ones. Phil has no bearing on my mood. He is just wrong and I wanted to let him know.

Thanks both of you guys. The knowledge alone made it worth it. I have some new projects in the works and I am excited to get further into them. Jon

Phil, You are wrong. Independent Pilots can be sold on an idea basis just like they would buy a script for a show. I was just at the New York Television Festival with this and people have sold shows there before. Also some people were getting interest this year. In a way it helps you stand out from a pile of scripts. Regardless, I do not think anyone will buy my show. But if someone showed up with Mad Men the independent pilot that would be a different story. Jon

Ram, Thanks for taking the time to view the pilot and for your kind words. Allow me to address your questions one by one. 1 - The front of the convenience store was lit with 4 1k China balls on stands on the roof of the store. We also had a few 650s shooting down toward the car area that had green on them to match the color temp of the inside of the convenience store. The flourescents inside were uncorrected and green. That way when we timed the flourescent lights to normal the 650s went white and the 1k china balls became purple/pink which explains the purple/pink glow over the scene. When they were in the car we also had a store bought flourescent cieling light as the key on their face which also timed down from green to nearly white, although in the case of the key on their face I think it is still a little greenish since the bulb must have been even greener than the convenience store flourescents. 2 - The front yard where they bring the drunk kid was lit with another 1k china ball on the roof of the house. We also had 2 650s pointed toward the driveway to simulate house flood lights and finally an HMI on the trees in the back ground. This scene was pulled 1 stop. 3 - Nothing was pushed. Only a couple scenes were pulled. The stuff at the house where they drop the drunk kids off, and other scenes not included in the pilot. I hope that was clear and helpful to you. Thanks for watching, Jon

Thank you for the kind words XiaoSu Han.

Hello, http://www.vimeo.com/1819417 The above TV Pilot took about 2 years to put together. Although the pilot is only 11 minutes long over 130 pages were shot for 35 days of nights with a crew of 20, a cast of over 40, 30 locations, and so much more. I dropped out of film school the early part of my junior year of college to make it. The amazing crew consisted of my film school friends and the actors were all out of NY. Everyone worked for free. I performed nearly every key role on the production (to my mental and physical detriment) Writer, Director, Producer, DP, Editor, Composer, Production Designer...etc. It is stupid to list, which is why i made up some names in the credits. However, it was amazingly educational and I learned so much more making this than I did at film school. I honestly could write a book about the adventures involved in producing this and the 120 pages that were shot and you aren't seeing. (At this time I have no plans on completing the first 3 episodes of this series.) TECHNICALS We shot on Fuji Eterna 500t 35mm Moviecam Super America (Heavy block of metal) Zeiss Superspeeds Lighting was largley put together through Home Depot painter lights and a small rented package. And lots and lots of China Balls. I would love to answer any questions, welcome any comments or feedback. It was about 2 years worth of work and I just want people to see it. It just recently was accepted to the New York Television Festival where it was awarded Best Director. I do hope you enjoy, Jon Pivko

I was wondering why There Will Be Blood's score wasn't nominated so I looked it up and it was apparently not elgible because a lot of the music had been written before the movie by Johnny Greenwood for one of his albums. This also hurt Eddie Vedder from getting nominated for Original Song for Into The Wild. I am very happy to see Robert Elswit win, but I was sad that Deakins lost too. He had two tremendous works this year, and I didn't see In the Valley of Elah which I am sure was great too. I also think Robert Elswit did great work on Michael Clayton. Deakins will win soon, he shot Sam Mendes's next film and it has Oscars written all over it for next year. Plus he seems to be a director who really allows his DPs to shine. I predict Deakins will win multiple times before he is through. He is going to keep getting better and he works with the best directors in the business. I predict the Coen Brothers are entering some sort of Coen Golden Age starting with No Country, and he will work with them again after they use Lubezki for Burn after Reading.

I didn't know who I meant I just remember reading a couple posts about people having multiples. I will get one eventually. I think the guy at AZ Spectrum can modify your motors to run at higher speeds. I have visited his site and he seems to do a lot with a lot of motors. Not sure of his pricing though. It's only recently I have been looking for a new motor. I have had an NPR for years and I am sure missed a ton of extras on Ebay such as an Alcan. Now I will make it a point to always keep an eye out of for stuff for the cameras I own. Thanks for both of your replies I am sure I will get one eventually. Jon

Martin, That's funny I sent that Craigslist guy an email too about buying one of the motors. So I guess he won't go for it. Oh well, I will find one eventually. Jon

Hello, I posted this in the classifieds but figured I would post it here too. I am looking for one of the Alcon Motors. I know people on this forum have them, at least 2 times I have read of someone having 2. I would love to take one off your hands. Let me know if anyone is interested in selling me one. Thanks, Jon

Hello, I would like one of the Alcon Motors for the Eclair NPR. I have read at least two people on this forum have multiples. Maybe you guys are willing to sell one? If anyone has one they are willing to let go, or know where I can find one for sale without having to buy a whole camera let me know. I appreciate your time, Jon

I think the cheapest rental house is always a risk because that usually ends up being some private renter with a handful of equipment trying to recoup some of their investment. And there are a lot of those "houses". It's best to go with a real rental house that is reasonably priced, but has a lot of equipment/experience and are set up only to be a rental house, not filmmakers who rent on the side. My suggestion for New York would be Duall Camera. They are nice guys and I have rented many times from them. On top of this they do a lot of Arri S work, so they have a lot of experience with the camera you are looking to shoot on. They have a Crystal Arri S package with lenses for 160 bucks a day. I don't know your schedule, but for a 3 day rental week that runs less than 500 bucks for everything you need for a week. An SR2 is only 35 more a day (minus the lenses though) and it's quiet. I don't know what you are producing, but this stuff is really affordable. Even their 35mm gear is reasonable. Now if only insurance wasn't outrageous in the U.S. Jon

Anyone know where to get this done?

There is a fast one on Ebay but it is part of a whole lens set and the buyer states they are not splitting it up although they would probably make a more money if they were to do that. The other 22 is older and doesn't match the fast speed lens set I already own. Need something newer.

Actually I am not sure if they made I high speed 22mm. I just need a good quality 22mm even if that means a T2 or 2.2. Thanks, Jon Pivko

Hello, If anyone has a one of the fast Russian 22mm lenses they want to sell I am a willing buyer, or an 18mm for that matter. Thanks, Jon Pivko

Fantastic. What camera are you using? Lenses? I want to get into large format. I really love the sepia prints, the texture is great. Any more info on that process would be welcomed. Are you making the prints yourself? People would definitely pay for your portraiture services, nice stuff.

Christophe, Hello I was wondering if you could let me know some technical information about your stills. What format do you use to shoot? What camera or cameras? Basically, if it is Digital what cam do you use and prefer? If it is film...? It looks like a mix, but maybe I am wrong and it is all film. I like the site and everything by the way. Jon

Greg, I think you are over reacting my friend. I do appreciate your comments and especially the fact that you took the time to make them. I am not dismissing them. They are all valid points. The problem with an internet forum is you cannot read a person's attitude. I am simply defending my work. It does not mean I don't get your critique by any means. I don't think you are a jerk. Perhaps we are guilty of the same crime here, I am defending my work and now you are defending your criticisms. However, I am confident that my reel is better than something that gets turned off half way. I know it will come off as self-loving to say, but my reel is something that is worthy of more than "nothing that stands out as bad". I find that a comment that I won't take too seriously. It is of professional quality, and the opinion of many others will validate that. They are not all my girlfriends and mothers either. I do enjoy specific criticisms and thanks for elaborating in your second post. The fuzzy shot comment makes perfect sense to me, I know the shots you speak of, and I will chop them for sure. The girl at the door also is the shot that bothers me the most, I wanted to let the moment play out, as it is humorous, but I will chop that too and save it for my director's reel. That should shorten the reel by about 20 seconds. I believe. The wireless transmitter I am on the fence about. But if I cut those two shots my reel should be about the same length as yours, being that it is only 25 something seconds longer right now. I did not know the song was from 300. I don't care much about that movie and what it represents in general, which I believe to be a two hour music video that looks like a job of colorists and not cinematography. If more people say something like that song only makes them think of 300 I will probably end up changing it. That would bother me a great deal, as I hate that movie. I think Bourne Ultimatum when I hear the song in your reel, but with that mentality we could not use any cool song ever made. Your second post was far more valuable than the first because you elaborated a great deal on specific shots. I really do appreciate your time Greg. I wish you luck as well. Jon

Hey thanks, at least nothing sucks This is the first I have heard that, many other people have told me the opposite and that they enjoy it. I tried a lot of different songs, and this one seems to work well. I could maybe cut out 20 seconds and get it down to 2'40", but I am not sure yet as I would like to get more opinions. I was trying to show a lot of different lighting set-ups and environments and how they worked within the scene instead of just one shot out of context. Plus I think that makes it more watchable. I'm not sure if 3 minutes is too long, don't think it drags in the least bit either. Then again, I made it. It is. However it is my best work on the best format I have used so I don't see the benefit of putting some old 16mm clip in there as that is the only other stuff I have. A great suggestion though. Hopefully, What I think it does do is show if I was hired for a feature I could give it all one unified look. There are a ton of different lighting situations in there too. I wish I had a second movie or 5 other films to cut in there no doubt. Haha, first time I noticed, he is a fireman so maybe it works. Doesn't take away from the lighting and composition in my opinion. Didn't mean for the topic title to sound pretentious, it's just my humor, hope it didn't come off that way. Thanks, Jon

Hey guys, I posted this in please critique my work first because I didn't notice the thread for "reels" right above it until now. My Reel Let me know what you think. As I said in my other post I have learned a ton on these forums, and would like to share my work with you all. Thanks, Jon

i uploaded a new version if it was slow to download, this one should be faster. Jon

Ladies and Gents, My Reel Let me know what you think, I have learned a lot of valuable info on these forums, much appreciated. Thanks, Jon Pivko