Ben Saunders

If using 500T stock I'm assuming that using automatic exposure based on the internal meter would overexpose by 1.5 stops. Anyone know if that's right?

Thanks for the replies. Its encouraging to know this forum is so active given that I'm sure I'll have more questions once I get shooting. The more I think about it the more important the different frame rate options seem. I know that my budget restraints are going to prevent me from getting everything that I want, but I would hate to back myself into a corner by being limited to 18fps. My only real concern at this point is that I'm going to enjoy this format so much that I won't be satisfied with my entry-level camera a year from now. But i suppose that's a good problem to have.

It looks like at this point I am considering the 481, the 481 macro, and the S 56 as a slightly more affordable option, so any other input/advice about those models is welcome and appreciated.

Thanks!

Ben

I'm looking for some first camera advice. Super 8 is new to me, though I have professional production experience (digital), so I'm not a complete newbie. Here's what I'm looking for: I'm trying to keep my camera budget around $150-$200. Rather than mess around with ebay I'd prefer to buy something that has been tested and has a warranty. So far that has lead me to consider the Nizo 481 macro from super8arena.

-Anyone had positive/negative experiences with them?

-I saw somewhere that the Nizos are belt-driven, which can stretch over time. Is this the case, and is it a reason to look at a different camera manufacturer?

-Compared to other camera options in that price range, is the nizo a good choice when it comes to optical quality? I'd like my images to be as sharp as possible. The macro and slo-mo features in this model are also appealing to me.

Any suggestions or advice are greatly appreciated, thanks for your time.

Aside from using the meter to set the proper exposure on the camera, the meter is also a valuable tool for measuring ratios and for maintaining consistency between or within setups. It lets you know whether both actors in the scene have the same amount of light falling on them. If there is a lot of movement it will let you see if the light is consistent through the move. And you don't even need to have an iso rating for the camera for those things.

Adrian is right, for digital the meter can get you close but I would recommend relying on scopes. But it is still a useful tool for consistency and ratios (if you light that way).

I've had success connecting to a laptop via firewire and looking at the scopes in final cut. Perhaps not the most exact way to do it, but it should get you in the ballpark.

Steve,

Here is a link to a video tutorial that talks about how to figure out your camera's approximate ISO: http://provideocoalition.com/index.php/freshdv/story/calibrating_a_light_meter_for_digital_video/

This is just a personal preference, but I prefer to have the interior divider running the other way (perpendicular to the way it is pictured). That allows me to keep a small moleskine journal or insert slate in the pouch. Other than that I think you've got the makings of a nice product.

Well, I didn't get much in the way of suggestions, but thought I should post the end result anyway. I'm still open to any constructive criticism you may have. Thanks!

Here's the link: http://www.vimeo.com/11504284

Ben

Here is the picture of the reverse angle.

I'm looking for advice/suggestions for lighting a cubicle for a project I'm shooting next week. Its a short comedy piece, so I'm not looking for anything too dramatic. The action centers around a guy sitting at the desk and a series of people that come into the cube and stand behind him. I have attached a picture of the cube for reference.

So far the plan is to skirt the overhead fluorescent and add a light under the shelf on the right. Maybe add a practical lamp. I'm looking for suggestions for what else to use and where to put them. I have access to several kino fixtures and small tungsten fixtures (up to 2K) and I can rig small stuff to the drop ceiling.

Thanks for any and all suggestions!

Ben

I must disagree with Mitch-there is a significant difference in depth of field when using this adapter. The adapter provides 16mm depth of field, which is quite a bit shallower than that of the 1/3" chip sensor with a standard video lens. Tim Dashwood did extensive tests in a review of the adapter that showed a big difference in the depth of field characteristics. I can send or post a link if you'd like to look at it (he has pictures).

As for framing, I have found a way to account for the cropping. When renting 35mm lenses I put the focal length of the lens in the 16mm window of my director's finder. I've found that to be pretty accurate. Hope that helps.

I have a couple of questions about the JVC PL Cine lens adapter:

-The adapter is meant for 16mm lenses. What is the result when 35mm lenses are used instead? My best guess is that the focal length effectively (almost) doubles, but the dof stays the same. Is that correct? I'm trying to figure it out so I can reliably calculate for framing and dof.

-I'm also looking for input as to how the adapter affects light. Using the same lighting setup I compared the adapter with a cine lens to the regular 18x zoom lens. To get the same exposure levels the zoom lens was opened up several more stops than the cine lens. This seems counterintuitive and I'm hoping someone with experience with the adapter can help (Tim?)

-Thanks!

Scott,

Thanks for the reply, I PM'd you.

I'm looking for a used Alan Gordon Mark V Viewfinder.

I've got a shoot coming up in which the talent needs to be covered in mud. The look we're going for is muddy enough to be convincing but not so much that he looks like swamp thing. A good example would be the jailbreak scene in Raising Arizona. Anyone have experience/suggestions/tricks for dealing with mud? Any input is greatly appreciated. Thanks!

Chris,

thanks for the pics. i'm definitely going to give the bungees under the top shelf a try.

It looks like I'm going to be sticking with the rubbermaid cart and making some modifications similar to those mentioned (more support, bigger wheels, etc.). Chris, can you explain the way you're using cores to hold sticks (a picture would be even better)? Anyone else have creative ways to soup up a rubbermaid? Also, does anyone know if accessories made to fit on the edge of a magliner top shelf will also work on a rubbermaid cart? (I have a feeling the rubbermaid is too thick)

Thanks for the input. The overall feel is definitely not moody. Its a short comedy bit heavily based on the Rainn Wilson SNL digital short, so we're not going for a dramatic lighting ratio or anything too directional; mostly just nice ambient light.

Here's a link to the digital short if you haven't seen it

http://www.hulu.com/watch/1495/saturday-ni...th-rainn-wilson

I'm shooting a short scene in a small conference room tomorrow. Its interior (no windows) and has a drop ceiling and fluorescent overhead lights. The majority of the shots are close-ups that i can cheat the lighting for, but I'm not sure what to do for the master. At my disposal are some kinos and some small (1k & 650w) fresnels. Can/should I try to rig the kinos to the drop ceiling or bounce the fresnels off the ceiling? Any suggestions/advice would be much appreciated. Thanks!

I've got the redrock mattebox and use it with the JVC hd-250. Based on my experience its a good mattebox (especially for the price), but it does require some minor adjustments to get everything to work together. Also, the design prevents it from sliding freely on the rods, so you will need to be sure to have rods that are the right length for your lens or you'll be out of luck. You can check it out on redrock's site.

Depending on what you mean by 'fairly cheaply' I would be interested in a bracket. I'm also curious to see how the ponoko thing works out.

For an upcoming shoot I'm trying to get streaks of light coming through a keyhole. Does anybody have experience with something like this? I'm assuming that I'll need some fog or dry ice-any suggestions? We're shooting HD rather than film. Thanks!

Thanks for the input and suggestions. The more I look at the prices and our needs it seems to make sense for us to get something lighter-duty for use in the studio and we'll just have to save up for the real thing. Thanks again for your input.

I'm looking into purchasing a cart for work and need some suggestions. I would love to get the real deal, but something like a magliner is going to be too expensive. The low end seems to be rubbermaid carts which are sturdy but not very portable (we don't have any large production vehicles). I'd love to find something in the middle that would be useful both in the studio and on location. Any suggestions?

I'm also curious to hear from anyone who has experience with the filmtools carts.

Thanks!