Vincent Sweeney

http://www.imdb.com/video/imdb/vi2760350745/ (480p version at the least) Kaminski and Rick Carter are in a class of their own.

I've done 4:1 on a 16mm short before. It gets tough but is possible, esp if the director and actors are working really well together and if there are lines, they are memorized perfectly. Some simple planning can solve so many issues and time waste.

Why not frame for, and post in, 16:9? I'd consider that next time around. It works very well and won't distract some viewers with the side-bars.

Looks a little like outdated film to me, on top of maybe a cheap or old lens/focus issue. To me, this is not typical of S16.

Both are great cams. The 416 is newer and has a better video tap, for one thing. Comparing the 416 to the Aaton Xtera is closer. Most information you might find comparing them is a matter of opinion so you have to test both on your own. The Penelope is a 35mm (and soon a 4 or 6K+ digital?) camera.

Nice. You are way ahead of a lot of students out there by showing your understanding of the critical importance of production design above anything else when establishing a look.

Im sure the test itself was fair but that edit was misleading by leaving out information. A clever marketing campaign by zacuto, in the end.

$375 seems fair. I bought it as a back-up camera to my other two Nizos for a couple of odd projects. I never ran film through it but it appears to run perfect. PM me.

Wrong on the "Post" comment. Not a lot can be solved in post other than tweaking color and contrast intensities. Best to get with your DP (find one soon) and discuss what you want in the end.

This came from a non-internet source who is way ahead of anything like that.

I'm trying to ignore this kind of thing more and more lately but thought I'd share this for the tech fans here. Overheard a rumor this evening: Canon. S35mm sensor. At least 422, 10bit built in so approved for BBC and Discovery. Possible 4K option(?). Well under $20k. EF mount possible. Maybe new lens options. Targeting F3 and RED heavily. Unrelated to 2010 demo of 4K sensor.

Yes you still need ND filters for shooting daylight stock outside because it will be way too bright for a 500 speed film. The ND will knock the light level down to a reasonable level. Still, the problem you will have is that it will be very hard to see through the viewfinder after putting the filters on. I, too, don't think that cropped 16mm and Reala is a good mix unless you are going for an almost "Super 8" look. You may not like the contrast since the blacks will be a grainier than usual.

I don't think it's even possible to flicker or flash a tungsten source fast enough to see a rolling shutter effect; the cool-down and warming times are too slow. All CMOS have the issues but I can only get it to happen with camera-type flashes and sometimes with gun fire.

Very nice.

Seriously, getting a DP who owns an Aaton or SR and shooting S16 is probably the cheapest route. If not, shoot 1080p on an HVX and transfer the final edit to 35mm film. You can not archive anything digital and this is a hard fact. This is why all studios make 35mm films of all of their properties. Tapes, and hard drives (even worse), lose data with each passing year while sometimes becoming corrupted suddenly with no chance of recovery. I feel for all those indie films that are being shot digitally today; they will be gone in 50 years, just like all the families that have all their photos on drives and cell phones... no record will exist of many of them sooner than anyone realizes.

I always carry a Sekonic around my neck to occasionally confirm a S8 camera's meter. It wont always match up because it is metering in a different way, and you have unknown light losses with S8 zooms, but spot checks should be close and you get the hang of it after a while.

Well, I didn't need to bother asking. Interview with Larry Fong: http://motion.kodak.com/US/en/motion/Publications/In_Camera/Web_Exclusives/index.htm

Sounds like the 13 and 19 Kodak stocks were shot and scanned on Pro8's HD rig. Not too much film was used however, he was guessing 10-15 rolls at most. Some was done on a Canon 1014xls and some was shot on an unknown camera the production had already. S16 was also used.

I don't think their DR is much different. It's a reversal stock so its not going to have any room to play.

You need to consider finding a DP who owns one and hire him instead. You will spend the entire day trying to figure it all out, and operating a steadicam type device can take a very, very long time to learn. None of this stuff is something you "just figure out" by renting it for a day. Also, using an "Auto" feature on a camera like that isn't practical when you don't know the rest of its functions. The difference between that kind of camera and the little ones you are used to is about as different as riding a tricycle is to driving an 18-wheeler.

If you are in a quiet room and within 7 feet or so of the actor and want clean audio, especially a small room with hard surface; bathrooms, dorm, etc., you will need to put a barney on any of those models. Outside you are fine without one. I agree with what was said and will add that you may want to try having a DP/owner look at what you are investing in, if you aren't going to a known dealer.

Great job with the seminars and thank you for the effort. Sitting in with Mr. Bailey was the highlight of the weekend for me.

And we all know how accurate IMDB is... Im going in for a transfer next week and will ask what stocks were used.

Not entirely related to your question: I was dropping off some film at Pro8mm the other day and apparently they worked with the production in many ways and the 8mm footage in the movie is real, which is good to hear.

I just worked up a small feature budget for 16mm: Approximately $34 per minute, including Prod/Optar rental, mostly 7213 stock, process/scan to HD.