Tom Hepburn

Another something to consider, I just had some super16 scanned high def (1920x1080). They used the HDV quicktime codec as it's a more reasonable file size (compared to an AVI). I live in Chicago and this film developing and transfers house, does very little HD transferring to formats that will be edited on a PC. This is not a small company either. It's been a real hassle to even look at this footage. I have yet to find a player to play this on a PC and will probably pull my old G4 back out and see if that can handle it. I've used both Macs and PCs and have edited with FCP, AVID, Media 100, and Premier Pro. I know it's expensive (which is why my fastest box is a PC), but I have run into more problems with the format issues lately. If I had the cash, I would go ahead and buy a Mac. My experience is that with a Mac, I can just work and forget about hardware, software, and format issues. I'm sure others have had better experiences with a PC, but this is mine. Good luck, Tom

Hey Adrian, I just wanted to add that this is one of the funniest (and honest) titles I've seen in a long while. I wish I could relate more ;) as was: "Nothing worse than waking up hungover with a ton of 'Order Confirmations' in your email in-box" Good times. Tom

It's funny how the sound recording world and film world have so much in common. I've done a fair share of audio recording and some people will pay top dollar for tube equipment (including me). The reason is, and here is another subjective term, that it sounds "warmer." Not that purely digital sounds (or looks) bad, it is actually quite "clean," but as in anything else, what kind of look (sound) are you going for. I think I prematurely limited my research to the Spirit. Since I have an older lens, the ANGENIEUX 17-68 (with myACL) and am shooting black and white almost all of the time, the Millenium may in fact be a better fit for me. So I have a few more calls to make. Thanks again. This post has been a great one for me and I appreciate each response. Tom

Hey Guys, Thanks for the info. I was actually hoping on getting some names of places with a Spirit and doing the leg work/price shopping from there. Since many have gone down this road here, I thought I could cut through the searches and separate the ones that have a Spirit from those that send the film to a place with a Spirit. Unfortunately, it seems when prices are given first, the names don't always follow. So if you know of places (like Bono) , by all means let me know. After some research it seems like with 1,000 feet it doesn't save much by going the SD (timecode), then HD route. Long live the name droppers! Thanks again, Tom

Hello, I'm in the process of shopping around for Super 16 scans to my hard drive (1920 by 1080P @ 24fps). I'm located in the Midwest, so I think I'm aware of the options around here. Where are Super 16 people getting theirs done (in the US)? Although I'd like the highest quality, money is a consideration (sound familiar?). All of the footage at this point will be black and white. It will be viewed at least for now on HDTV (16:9). Thanks in advance, Tom

Hey Tim, Thanks for the leg work. That's great info. I was squinting before reading the final number to lessen the shock. T

Hi Adam, I have the same camera and the same little piece is missing. As has been stated, I wouldn't go by that anyway. I think when the camera was made (1957-ish) they included that as a "general" form of light measurement. Obviously, they are subjective words and so not very accurate. I would grab an analog meter off of ebay. I would leave nothing to chance as it's quite costly if you end of with shots and or footage that is blow out or underexposed. Or the camera option is good as well. This is a nice camera though for the money. I have found that mine shoots extremely stable images. Good luck, Tom

OK, thanks. Standing by for Phil or Tyler. Paging Phil or Tyler :) Tom

Kristian, I have a K-100 and have run a decent amount of film through it. I would say mine sounds even and normal in terms of any clicking during filming. It does not vary in any way except when reaching the end of it's wind (which as you know lasts about a full minute). In other words the sound is the same at 5 seconds as it is at 25 seconds. The pitch and rhythm don't change. I just shot some footage of the Cubs vs. Sox. The strobe thing sounds interesting. I'd be interested in your results. Good luck, Tom

Hi Nick, I'm not sure that there is any one program that is best for syncing audio. I've used Final Cut Pro, Avid, AfterEffects, and more recently Premier Pro. All of those programs can sync audio. I would say that a large part depends of what you want to spend and what else you'll want to do with your footage. If all you want to do is sync, the above programs are probably more than you need. Tom

Hello Folks, I have some questions about getting to high definition TV from 16 mm film. Here is my workflow: Film on Eclair ALC Super16 mm camera (16x9). Transfer to hard drive, but not sure of all of the options yet. Take into AfterEffects or possibly Premiere Pro CS3 to edit Export from one of the above (trying to retain as much quality as possible) Encode for Blue Ray. Burn to Blue Ray Disk. I know that everyone doesn't have a blue ray burner/player at the moment. Most of what I'll be shooting we be more valuable to me (and my kids) in the years to come, not necessarily right now. What is high end at the moment will be considered standard before we all know it. So it's important that when I have my film transferred to Hard Drive it's the best quality as I can afford. I?m thinking 2K scans for the 16mm film. I want to be able to play this footage in the highest quality on HDTV in the near future. I can keep my raw 16 mm on a hard drive and as the technology advances, I'll be able to re-render and output again. It won?t be a long movie, most likely 20 minutes or so. My computer is a PC that is around 2 years old and has 2 gigs of RAM. I?m not sure of the processor at the moment, but I?m concerned it?s not going to have the stones to handle the 2K scans. I could use lower res compressed versions of my scans and substitute by proxy at rendering time in AfterEffects. So my two questions would be; is there anything I should be aware of in my workflow in terms of potential snags? What recommendations are there in terms of retaining the highest quality? I think the most variables lye in rendering, encoding at this point. Thanks in advance for any help tossed my way. Tom

Hello All, I know I've had a lot of posts the last few months. I've completed all of my purchases, much of it based on the input from this board. I can't put a value on the advice and friendly feedback of the users here. You've helped make expensive decisions easier to assess. In short I just wanted say thanks for your help and hope I return the favor in the same spirit. Tom

Never mind, I bought a different one. Tom

I should have mentioned that I'm shooting 1/2 black and white at this point in time. So I believe that takes Fuji out of the equation. Where would I buy the A-minima rolls? I haven't seen them before. Tom

Hi Saul, "I use short ends and 200' A-minima rolls with my 200' ACL mag" Are you saying that you are using short ends ON a A-minima roll or that you're using 200 ft shortends and in addition you are also using 200 foot A-minima rolls? Sorry, I think there are two ways to read that one. Doesn't the feed side of the ACL turn counterclockwise with the perforations down anyway? I normally buy film from Film Emporium, where would I buy those A-minima 200 foot rolls? Thanks again. Tom

Hello, In my limited 16mm experience I've shot with a camera that only held 100 ft loads. Now I've purchased an ACL, largely based on the advice of this board. I'm really pumped about it too! I have a 200 and a 400 ft. magazine. Obviously, the 400 footer is pretty straight forward. BUT, what are people doing with their 200 ft. mags? How are they loading them and with what size spools of film? If you're cutting down a 400 ft. spool could you be specific in terms of how you get from the 400 ft to the 200 ft? Thanks in advance, Tom

Has anyone used this mic? http://www.rodemic.com/microphone.php?product=StereoVideoMic My budget is slim and was wondering if it's a decent value. I'd be running it into a Sony PCM D50 which has mini in (Stereo). Most of the time it will be on a boom. Thanks in advance, Tom

Hello Folks, I've been around here for a while, mainly in the 16mm section, but wanted to post my website. I've been a Digital Artist in Chicago for 15 years. Animator/Editor/Graphic Designer: Tom Hepburn Digital Artist Website Thanks, Tom

Thanks so much for the info folks. On the advice of this board, Saul, and Bernie @ super 16 inc, I've bought a Angie T2.2 17-68 mm lens Some of what I shoot will be the kids and a lot of things where I don't want a ton of attention brought to me and the camera. So this seemed like the obvious choice. The ACL does have a Cmount. At least this one does. Thanks in advance, T

Hello, I have an Eclair ACL and I need to get a lens for it. Unfortunately they are not as easy to acquire as I had previously thought. I'm looking for a zoom and I have between 1K and 2K to spend. I wish I had more, but I don't. Can anyone recommend the best value for a Super 16 lens with that budget in mind? Also, my super 16 experience, is at the beginner level. Thanks, T

I'm considering a new purchase for a camera that will be either Super 16 or easy to convert to Super 16. My question however revolves around the output and presentation of that format. Let me preface this by saying that I'm not filming for commercial output, this will mainly be for myself. The content will be mostly interviews and some short independent "artsy" projects. I know that some who use super 16 are having their film telecine output on DV tape (at 720 by 480) with a letter box. However what I'd like to do is have my super 16 film scanned at HD resolution (1920 by 1080). I have some experience with DVD burning, video editing, etc., but it occurs to me that at this point in time there is a problem burning DVDs that can play at that HD resolution. I hate to bring Blueray into it, but that is pertinent to my situation. Ironically it seems like film (Super 16 in particular) is ahead in technology :) Exhale, So my question is, those are using super 16, what are you outputting to? Thanks in advance, T

Dave, I did do a search and came up with one page, with many posts selling or talking about other cameras. This post has been very helpful to me. One reply was yours and I appreciate it. I'm making a significant investment and have found that asking specific questions, will many times get specific answers. Thanks for the answers in all of the above posts. They really help. T

Hello folks, In my research, I've also come across the Cinema Products cameras. From what I can tell, they seem to be quiet and light, and much more reasonably priced. Are there any thoughts on these cameras? If their prices in general are cheaper, perhaps there is something I'm not aware of? Thanks in advance, T

Hello, Can anyone tell me how the Kinor compares to the ACL/NPR in terms of noise level. As I mentioned I'm looking to record diaglog too. Thanks, T