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does anyone know where i can get a copy of this? i feel like my job search would be incomplete without it. thanks.

just something i've been pining over for a project. we are currently deciding whether or not to use bleach-bypass processing on our film to create a certain look. if the footage is being telecined, edited, and output digitally, is it worth doing bleach-bypass or should we just do it in post?

david thanks for the reply. if you couldn't tell from the first post, i'm new to editing in 16:9 as i've never shot S16 before this. so if i have the S16 footage telecined to the HD will it be already be 16:9 that i can just drop into an HDTV timeline and edit? is there a special telecine process just to create HDTV ready files? i was under the impression that S16 does not have a 16:9 ratio, so i was a little confused as to how the film was telecined to fit into a 16:9 timeline.

I've shot a short on S16 and plan to scan the footage straight to hard drive (most likely at Spypost after seeing the Spypost vs. Bonolabs test) . I'm looking to edit 16:9 in FCP and output to HD DVD. Can the raw footage be scanned into true 16:9 or will there be some cropping or scaling in post involved? Basically I'm just looking for the highest quality 16:9 output coming from S16. Also, I've been given a whole lot of ballpark figures for transfer at Spypost, does anyone know some general rates for their services?

whats the general price range for, say an hour of best-lite footage at both of these labs (not including drivespace if you need it). does spypost have a system like the drive in the mail system at bono?

just from experience shooting a lot of b&w reversal 16, an orange filters works wonders on your contrast and blacks. takes away some of the flat greyness that you might get if you're not working with the most professional lighting. i don't think i was ever disappointed with the final result of using one.

the shot where bill murray walks up to the front of the ship after meeting his son is digital slow mo but if i remember correctly the last shot walking down the stairs is not. i could be misremembering though.

American Psycho was adapted from a Bret Easton Ellis novel.

I totally agree with the recurrence of Being John Malkovich. I might not have caught his name perusing the replies but have we forgotton PT Anderson's films? All original to me. Andrew

there's one at the end of every wes film (dancing in rushmore, cemetary in royal ten, etc.) . it seems to be more overcranked than 48 to me though. andrew

Can anyone venture a guess as to how fast the highest frame rate is in one of their classic ending shots? Andrew

I am shooting a 15 minute short on S16 and wanted to know what the optimal method of digitizing my film will be for output to DVD. I'm editing on a standard G5 on FCP and outputting through DVD Studio Pro. Do I need to edit with certain settings to output to a widescreen DVD? How do I need to build the DVD so that it plays the entire frame that S16 gives me. Thanks Andrew

definately stick with kodak direct but if not try www.filmemporium.com

I'm a director/co-producer in preproduction for a 20 minute short film which we plan to shoot on Super 16. I'm helping out with a lot of tasks like finding rental houses to get our rig from etc. (its a pretty low budget student venture) Anyways, everyone has been talking up S16 like its the new black and I saw for myself that it does look great, but the problem is I'm going into this project with very little knowledge of S16 equipment. For instance, could someone let me know what rentable cameras there are that (without any mechanical work) are S16 compatible? (we plan on using an Arri SR model) Do I just shoot any old regular single-perf 16mm negative stock? What sort of adaptations do I need to make on the camera (framing on the groundglass, etc.) to have it set up properly? I realize that my DP could probably answer some of these questions quite easily but we don't have one signed on yet and I'm trying to get things rolling here. Plus I think its something I should know for the future anyway. Thanks, Andrew

Just an addition to my post. How can I give the film a slightly greenish-gray look like a boring office building? Keep in mind I can only gel my tungsten light kit. I can't use different lights or a camera filter. Andrew

What colors will neon and halogen produce when filmed on daylight balanced film? Anyone know any examples in film where this was done for effect that I could take a look at? Andrew

I'm completely new to shooting negative (not reversal), so I just want to know what the process is for me to edit a color 16 negative project if I'm editing on a Steinbeck flatbed. Do I ask the lab for a workprint and edit that for projection or do I edit negative and then have a print made for projection? Am I completely missing something here? I realize its a pretty basic question but I've never really had it answered. Andrew

If I just gel my tungsten lights with daylight conversion gels, I should be fine to shoot on daylight stock, correct? Andrew

I'm shooting a 16mm project that has a few shots in a bar and I could use some lighting tips. I'm working with a 1k fresnel, 2 650k fresnels, and a little inky. I'm looking for just a very straightforward bar at night look and basically I just wanted to get some opinions on a good stock (color neg) to shoot and what sort of lighting will give me the realistic bar look. I understand that there are millions of combinations and artistic choices, but I've never shot in this sort of situation before and am looking for some ideas that will give me a good result. Andrew

If I am shooting outdoors with a daylight balanced 16mm negative stock, but I also plan on using artificial tungsten light, do I need to change the setting of my film speed on my light meter? Will the tungsten change the metering? How about shooting tungsten balanced film indoors with window daylight? Thanks Andrew

thanks for all the help, but i just have one more question. as i mentioned in my post i have few resources when it comes to gels and scrims. are there any household or consumer products that i could buy to act as nd? thanks andrew

im shooting a short on 16mm reversal (either tri-x or plus-x) and one major shot consists of a slow dolly towards a corner of a room that has an open window (it will be daytime). i will be using artificial lighting on the subject indoors, but i know that this stock has terrible latitude for this type or situation, and i don't want the window to be blown out, or the subject to be incredibly silhouetted. should i cut light from the window or increase indoor light? what's the simplest way to cut the window light (with very few resources)? thanks andrew

Does anyone know the leader lengths of both ends of Plus-X and Tri-X 16mm 100' rolls? They are daylight load rolls (being shot with a Scoopic), and I'm just trying to figure out exactly how much film to burn before shooting, so I waste as little as possible, and when to stop shooting also. Andrew

Its a day shot with some daylight coming through glass doors and windows from one side.

I'm shooting black and white 16mm and am working with a tungsten Arri kit that includes 2 650w fresnels, 1 300w fresnel, and 1 1k open face with a chimera. The shoot is inside a large house, and I have a few shots that are long, handheld, shots that follow subjects down halls, through rooms, etc. I have two questions: 1. Are there any effective methods of lighting shots like this to still look natural but to keep the subjects exposed properly for most of the time. 2. How can I ensure continuity in the lighting of my shots, specifically for the purpose of making smooth cuts without disparities in exposure. Andrew PS I'm using a Sekonic L-398M Studio Deluxe II meter. What is the most effective way to meter my shots (incident, reflected, etc.)