David Fitch

I thought about trying a Scoopic or Bolex...but only for about a second :) Heck, I already have a K3 which, unfortunately, scratches emulsion like crazy, so it's really more of a conversation piece now than anything else! Having AC'd with Aaton cameras in the past gave me a taste of working with a truly professional camera system with all the bells & whistles, so if the price is right I'd definitely prefer spending a little more and going for an Aaton or Arri.

Thanks for the advice, Oron. As you suggested, my plan is to hopefully pick up everything as a package deal. Also, my hope is that the included lens will be good to go for S16. I'd hate to get everything only to notice some vignetting in the S16 frame! One quick question about the S16 gates, as I definitely wouldn't want an R16 camera. Both the LTR and XTR I worked with had S16 gates, but I read somewhere (not on this forum) that only the SR3 is capable of S16 and that the SRI and SRII aren't capable of being modified for S16. Is there any truth to this? I'm a little suspicious of that statement, as I've seen a few SRI and SRII packages on eBay billed as having S16 gates.

I've been a super 8 hobbyist for quite some time, but I've really wanted to make the jump to buying a S16 camera and shooting some 16mm. With prices for pre-owned S16 packages becoming increasingly reasonable, the thought is becoming all the more tempting. At the moment, I'm considering either an Aaton (LTR or XTR), or Arri SR (I, II, or III). While I currently don't work in filmmaking, I was a freelance AC back in college and worked exclusively with Aaton LTR and XTRs, so I'm pretty familiar with the nuances of those systems. That said, I think an Aaton might make the most sense in terms of my previous experience, but depending on prices and what's available, I definitely wouldn't rule out an Arri. So, when it comes to 16mm cameras, what's your preference...Aaton or Arri? I'm sure each camera has its quirks, but are there any reasons that you tend to prefer one camera system over the other? Thanks to anyone who's willing to take a moment and chime in!

Hi everyone. I was wondering if anyone might be able to suggest any facilities (in the US) that would likely offer a good price for processing and HD transfer of 400' - 800' of color negative S16. Unfortunately I'm just a hobbyist, so I woudn't qualify for student rates, but just the same I'm wondering if some processing and transfer houses offer discounts or package deals for individuals working on small, non-commercial projects. I'm not looking for anything too fancy, just a decent quality one-light transfer, and I'd be willing to wait for an "as available" transfer if it means saving some money. Thanks!

From what I've read, the WGA contract with the AMPTP expires on October 31, 2007. The DGA and SAG contracts don't expire until June 2008, so the thinking is that WGA would reserve a strike until June 2008 so that all three unions would go on strike simultaneously. Evidently, the major gripe among the three unions is the handling of royalties from "new media" distribution, such as the Internet and DVD. Consider this a "for what it's worth..." argument from a non-union guy, but are these grounds really justified, let alone enough justification for a strike? If union pay scales deliver a fair wage for services rendered...and that has been a major selling point for unions in the entertainment industry...then what's the gripe? I tend to look at it this way. Does a plumber get a royalty every time someone uses a fixture which he installed? Does an auto worker get a royalty every time someone uses a car which he built? Of course not. As has been mentioned previously in this thread, business is business, and like it or not, someone or some business is always going to get a bigger slice of the pie than everyone else -- that's Capitalism 101. Maybe I'm comparing apples to oranges here, but in my opinion, the unions are the greedy ones in this scenario.