Brandt Wilson

Carlos, Thanks for your input. You bring up some good points, particularly about inspiration, which is exactly what my goal is for the filmmakers I work with. Inspiration and a bit of common sense. I like your idea of reproducing a famous scene. It's so easy to internally justify why something doesn't look like you had envisioned it when you are the beginning and the end of the process. When there is an external goal or something tangible, comfort zones and artistic and technical boxes are challenged, which is also great for discussion and discovery. I think the discipline of how to work effectively as part of a team...how to give and take direction and how to challenge a project leader to see something in a different way, whether in film or another business, are all skills that help to make up a successful person. Thanks again!

Hey all, I've mentored a handful of graduated students from our local film program on how to take their knowledge and get a film made. Trouble is, my education has been on film sets and I haven't had any real training on cinematography beyond the very basics, and I feel like I'm doing my students a disservice by not being able to give them something more than a muddled together technical shot. I've thought of taking advanced photography classes, and I've glanced over a couple books on the subject, but I haven't found an approach that has really helped me develop my own skills. Based on your experiences, are cinematography schools worth it, or hiring a local DP for his time and having him or her train me how to pull it all together. Just for clarity, I do know how to run a camera (at least my CP and soon to be arriving ACL). I do know how to set lights, I do know how to take meter readings and adjust. It's the finer points and how to put it all together so that it looks like a painting and not a paint by numbers, if you get my meaning. I appreciate any input. Thanks, Brandt

Thanks for the info Phil. I think I'll save myself the headache and stick with the nicads Any ideas on removing the old cells without destroying the box?

I'm also in the process of recelling 3 batteries. First question: What seems to be the best way of extracting the soldered mass of batteries without snapping the metal leads or cracking the case? I tried pulling on the strapping tape near the tapered end, but the tape broke before I could dislodge it. Second question: Is there any reason I can't use NIMH cells in my packs? I can quadruple the mah rating if I can use them. Smith..John, you might try squeezing the sizes right in the middle with a padded expandable wrench (sorry, don't know the correct name). It flexes the battery and may allow the weld to pop without destroying it. Mine came away with only minor damage that I can fix with epoxy putty when I put it back together. Thanks, Brandt

Skratch, There are alternatives to conventional approaches to shooting, processing and posting your films that can keep your costs a bit more manageable. As an example: I have a CP16R/A with 3 mags, 3 batteries, a power supply and a Canon Cine II lens that I picked up from the local film school for $375. I suspect that many schools have periodic closet cleanings, so deals are out there. I also used to have the Super 8 version of a Workprinter, which is a desktop telecine that works with a Macintosh or PC, which you would probably use to edit, anyway, since you mentioned telecine. The 16mm version is about $2000. As Matt mentioned, you can get short ends and recans of 16mm probably cheaper per minute than you can super8 from Kodak. You also have a far greater pallette when you work with 16mm. My understanding is that processing is on par, but I haven't sat down to work it out for myself. Might not be fully accurate. As you get out of the financial side, you begin to get into personal preference and convenience. Longer run times per magazine load, lens options, repair options, projection options. I know of a cheap Kem 16mm 4 plate editing bay, in case you're interested. I think it comes with splicers. I know it has a picture head and improved sound head that uses a stereo amplifier. A little creativity, patience and perserverance will land you a killer kit for very little more than you're spending on super8. And just to show I'm not prejudiced, I have a Sankyo Supertronic and a Canon XL310 for low light photography, both with anamorphic lenses, that I use as well. Just depends on the project.