James Baker

Camera kit is sold. Well, sort of. I've decided to donate it to a film school. It will be put to good use, and that makes me feel good. :) And I get a little tax break, too. ;) And thank you to those who had expressed some interest in it.

Sound equipment is sold. Thanks to all of you who inquired for your interest.

Over this last year I purchased several pieces of equipment as I was ready to make some 16mm shorts. I've since been diagnosed with a medical condition which unfortunately will be taking up all my time and energy from here on in. I'm saying this not for any 'sympathy', please, but only because some of the equipment (all except the camera) is brand new with the boxes, paperwork, receipts, etc., and it might sound odd as to why it's all for sale. I'd rather deal locally (greater LA metro, OC and Ventura counties) and I don't want to go with eBay, esp. packing, shipping, etc.. And this way a buyer can see the stuff first hand, too. I have no idea what the going rate is, although I do know what I paid. I'm prepared to take BO on anything. Everything was purchased from authorized dealers. Please leave me a pm if you are interested. This isn't at all about the money, so be assured you'll get a fair transaction. NOTE: I posted some sound equipment (all brand new) in another (similar worded) classified. See: "Sound equipment for sale." 1) Eclair ACLII purchased from George Zorzoli at Optical-Electro House in Culver City. Completely serviced and overhauled and converted to Super 16. Camera is in very good condition and works flawlessly. Ran only two loads of 100' film since purchase in Feb 2008. 2-100' mags, 2 batteries. PL mount and also an attachable C mount. Angenieux 15-150 zoom. Nikkor 105mm AIS lens in excellent condition. Also a brand new Harrison changing bag, all fits in two brand new custom made cargo cases built by Charlie at Mastercases in Pacoima (the same person who makes and repairs all the Panavision cases.) Extras such as new chamois eyecups, gray cards, small slate, orange sticks etc.. All new. 2) Spectra Cine IV meter. Brand new, never used, in box, receipts, paperwork. 3) Gitzo G1340V tripod. Brand new, never used, in box, receipts, paperwork. Also brand new Kata heavy-duty tripod bag. (legs and head all fit in the bag; it's a semi-rigid bag.) 4) Vinten Vision 3 fluid head. 2 extra weight balance springs included. Brand new, never used, in box, receipts, paperwork.

Over this last year I purchased several pieces of sound equipment as I was ready to make some 16mm shorts. I've since been diagnosed with a medical condition which unfortunately will be taking up all my time and energy from here on in. I'm saying this not for any 'sympathy', please, but only because all the equipment is brand new with the boxes, paperwork, receipts, etc., and it might sound odd as to why it's all for sale. I'd rather deal locally (greater LA metro, OC and Ventura counties) and I don't want to go with eBay, esp. packing, shipping, etc.. And this way a buyer can see the stuff first hand, too. I have no idea what the going rate is, although I do know what I paid. Everything came from reputable and local authorized dealers. I'm prepared to take BO on anything. Please leave me a pm if you are interested. This isn't at all about the money, so be assured you'll get a fair transaction. (I also have an Eclair ACLII that I got from George Zorzoli in Culver City. He converted it to Super 16. It's a complete kit (mags, lens, batteries) in new Panavision custom built hardcases with a new Spectra Cine IV meter, new Vinten Vision 3 fluid head, and new Gitzo 1340V legs. I'll post that in another classified here.) 1) Sound Designs 702 digital sound recorder. Including one extra higher capacity Sony battery and 2GB compact flash card. Brand new, never used, in box, receipts, paperwork. 2) Sennheiser MKH 416 shotgun microphone. Brand new, never used, in box, receipts, paperwork. 3) Rycote full Modular Windshield kit (to fit MKH 416 and similar size mics.) Brand new, never used, in box, receipts, paperwork. 4) Sony MDR-7506 headphones (one pair) Brand new, never used, in box, receipts, paperwork. 5) PortaBrace sound bag for the recorder (brand new) and everything (mic, Rycote, cables, etc.) all fits into a large PortaBrace cargo bag (brand new, etc..)

That's correct.

Yes, I don't get this either. It's lightproof. But maybe I'm missing the question, too? Load, close. Open the take up, do the "two finger" spacing outside the mag and push the length back up into the mag. Lock, close mag. Perfect every time. The ACL is very easy to load which is part of its attraction.

Hi Nicholas, Ross uses an Aaton shooting 16 and later S16, and has been pretty much a one person show --sometimes with help from friends and his son, Adrian. He's a super nice guy and you should ask him directly about his technique. He's still at VES (Dept of Visual and Environmental Studies at Harvard.) Don't think school has started yet, but his office hours should be posted. Drop him an email. (I'm a friend of Charleen Swansea's :D )

DSLRs are, well, DSLRs. A lot of shortcomings with any manufacturer. Maybe in a few more years? In the meantime I personally still use film without the problems of originating with digital capture. Yes, it means processing and drum scanning (expensive.) But with the (subjective) look of film and the ergonomics of a film camera (think Leica M series) and yet big, workable files. It works for me as I prefer not to chase technology (not yet.) And anyway, the only real way to go with digital at the moment is with high-end, high dynamic range, digital backs (way expensive, still.) Or hire someone to work on site such as Industrial Color (which is akin to renting a Panavision, Thomson, etc.) This opens up some of the same motion film debate of film versus digital. But they are parallel issues, indeed. Is it worth going with low end digital (i.e., equivalents of the current DSLRs) or stick with film for now? Or should one forgo film but only using high digital capture?

I happen to like Fuji film with the added benefit of 200' daylight spool loads being available. So, I guess Fuji is an option for you unless you must use Kodak.

The Minima is not a fun camera to use. Unless you really, really need to use it under a car or something like that. That's just my opinion. All the other Aatons have a small footprint as it is....

I am an established still photographer who decided to also do some projects in motion film. My still imagery workflow consists of originating on film, scanning on a liquid mount drum scanner, editing the digitized file, and with final output as an Oce LightJet print (i.e., back to a chemical print.) So, I had somewhat of a head start in the "using film to digital transfer" process. But thinking/seeing in a time based medium was much different than producing still images. And so, I needed a lot of practice to try and make that sort of transition (and I still do...) I agree with David concerning the expense. It's somewhat the same with still photography. Using film gives one a lot of experience, but it's also a lot more expensive than originating in digital. You can look at your transparencies to see how you're progressing but it costs quite a bit in money and time to process film, scan, edit, and output to a final print (not many people can afford a true drum scanner and an Oce printer unless you're a service bureau.) My route to motion film went like this: a video camera first, to learn the differences of recording in motion versus still. That allowed me to get a feel for motion and learn all those differences and to get my mind's eye to think about it differently. That was an inexpensive way for me to learn. Then I went to 16mm and did what David suggested: project processed film on a projector. It helped to see the differences in digital and film and to learn working with film in an actual film camera (lenses, threading, etc..) And then I eventually felt comfortable enough to get some telecine'd versions of footage and that I could edit on my NLE and learn what all that process entails, too. After that, I felt I could put together a short. 1) a video camera first 2) a 16mm film camera and projected 16mm film 3) telecine'd 16mm film, editing, etc.. 4) finished short film It was a slow process, but I think it worked for me without jumping into totally unknown territory and spending a huge amount of money. I would personally skip the Super 8 step, unless you want to use Super 8 for aesthetic reasons.

As both a Nikon (D3) and a Canon (G9) user, I'm not offended. Anyway, that may well be your personal impression, but it's not reality. Look here: http://www.news.com/8301-13580_3-9882670-3...mp;tag=2547-1_3 Both Canon and Nikon make excellent products, with one of the differences being user interface/ergonomics. Competition is very important in the industry for progress to occur. We should be happy for it.

FWIW(?): http://www.film-center.com/clean.html

I think you mean isopropyl (?) as in isopropyl alcohol. Lighter fluid is naptha, nasty stuff --but from what I remember some of the old timers in film labs used it as an all purpose cleaner. Naptha cleans just about anything but I personally wouldn't use it on film. Isopropyl alcohol works okay. Trichloroethane is normally what's used but very bad for the ozone. I read a reference from an engineer at Kodak (Alan Masson) who says "100% isopropyl alcohol is a preferable method if cleaning film by hand." But he goes on to say the nothing works better than trichloroethane.

Definitely hang out. Talk to people. Don't be pushy, arrogant. Be nice, diplomatic. Making connections is what it's all about. Sooner or later you will connect. As you get to know more people, you will eventually get a contact who will offer you some work. Be very, very, very, very patient. In the meantime maybe get a day job somewhere else. Be nice. People like to work with nice people. Bad people are remembered. This is a union town. Get work, build your cv, become a member.

You could try this first: http://www.cinematography.com/forum2004/in...showtopic=29561 <_< oops! Sheriff Mullen beat me to it!

And then there are the mutts. I have a S16 converted ACL II with an ACL 1.5 motor. :D A great camera, btw, for discreet, inconspicuous sort of work. And esp. with the tiny 200' mags.

Give George at OEH a call and tell him what you're thinking. He should be able to help you with any concerns about an ACL versus a LTR, and what might be the best path for you. btw, I recommend his work. Good luck!

I would agree that the LTR is a better camera than the ACL II. Each successive Aaton/Eclair model is usually better than the one preceding it. But I think you would be very hard pressed to find a (full serviced) LTR for less money than an ACL. The prices one sees on eBay or elsewhere don't take into account the $$ one will (always have to) spend to get it serviced and running perfectly. And, as Tim points out, prices do fluctuate for all kinds of reasons. As a purely hypothetical situation, if you spent $2000 on a decent ACL, say, with mags, battery, etc, and then spent an additional $3000 to get it converted and absolutely everything (mags, motor, batteries, lens, etc) running in top shape (full service say from one of the three well-known Eclair techs), then you've got a camera for $5000 that you know will run perfectly with no surprises. If you find a LTR for $4000-5000, you will have to have it serviced so that there will be no surprises. And in less you're really, really lucky in your search, you will have to have it serviced (or at the very least, pay someone to go through it carefully.) I suppose you could find a LTR for a decent price that may seem pretty close price-wise to a converted, and serviced, ACL. I think you need to decide on what you want (LTR or ACL) and start looking for one. Pick what you want to actually own and it might be easier finding it. Otherwise it's like going to a car dealer before you know exactly which model you want. Just my opinion for what it's worth; right or wrong....

Spam, egg, spam, spam, bacon and spam. :rolleyes: http://www.mailmsg.com/sounds/spam-song.wav

My personal flavor/preference: http://www.CalDigit.com/index.asp

Not sure where you are located, but you might want to consider George Zorzoli at Optical-Electro House in Culver City (Los Angeles) (310) 204-6577. I've had personal experience with him and recommend his work.

The University of Southern California, School of Cinematic Arts (SCA), Writing Division is inviting applications for: Instructor of Cinema Practice. Application deadline: Wednesday, February 21, 2008 4:00 P.M. Position Description: The Writing Division is seeking an individual with three years' teaching experience in screen and television writing classes. The candidate must have substantial nationally recognized credits in television and long form writing. The ideal candidate must have production experience as a show-runner or executive producer and have the flexibility to teach classes in conjunction with existing production classes at SCA. The Writing Division is seeking a candidate that possesses a strong sense of story and character development and has the ability to effectively convey these script-developing skills in a classroom environment. The Instructor of Cinema Practice will teach four classes per semester. Salary is competitive. Qualifications: BA degree and equivalent professional experience is required. Preferred Qualifications: Teaching experience at the university level and professional experience brought to the classroom. Applicants selected for an interview will be notified of the time and place of the interview. Interviews are held on the University of Southern California campus and are conducted by an Interview Committee. Additional interviews may be required. Reasonable accommodations are provided to persons with disabilities. Should you feel you have a need for accommodation due to a disability, please indicate this request in your cover letter. Travel costs related to an interview will be borne by the applicant. Please submit your curriculum vitae and cover letter to: Ms. Bernadette Eva Tilger, Program Manager, SCA Writing Division, University of Southern California, 850 West 34th Street, Lucas 301, Los Angeles, California 90089-2211. The University of Southern California is an equal opportunity, affirmative action employer. All qualified individuals with the ability to contribute in a meaningful way to the university's continuing commitment to its Core Values, Honor Code and Diversity Statement are encouraged to make application.

Ermanno Olmi had never even been anywhere near a camera until he directed I Fidanzati, a truly beautiful film. And he has said he acted like an idiot on the set. But learned a lot. Maybe this guy you're complaining about was just really nervous. Maybe he learned a lot. Maybe he didn't. There are all kinds of people out there and there's no real reason to come to the conclusion that you made.

The Third Man (1949) Charade (the original) The Truth About Charlie (the Charade remake) District B13 Insomnia (the logjam foot chase in the Al Pacino remake of the original film)