Tom Hepburn

Hi Dave, That was my bad. I realized that I posted in a forum that I wanted to post in the regular 16mm. However I could not delete my previous post. Anyway, sorry about the double post that was not my intention. T

Thanks folks. This is great info and I will exercise caution if I buy anything. Thanks again, T

Sorry, I knew that sounded a little awkward, grammatically. Do single lens reflex finders come "stock" or standard with every one of these models. OR do they vary from model to model. Sorry about the confusion. I'm still learning the proper terms for components. Thanks

Hello, Pardon the basic question here, but I'm looking into purchasing an ACL or NPR and was wondering if they both have reflex viewers stock, or if it depends on the model, time, etc. also, If one doesn't know a lot about the camera one has, how would I direct them to find out what the FPS options are? Thanks in advance, Tom

Well, I still haven't figured out how to edit a post, so I'm adding this to the above: If one doesn't know a lot about the camera one has, how would I direct them to find out what the FPS options are? Thanks, Tom

Hello, Pardon the basic question here, but I'm looking at an purchasing an ACL or NPR and was wondering if they both have reflex viewers stock, or if it depends on the model, time, etc. Thanks, T

Hello, Has anyone every had a frame printed to photo paper? I'd like to get a frame off of a 16mm roll and printed in the same way that a photographer would. Has anyone done this? I'm wondering how far one can blow it up (in terms of inches). It's OK if it gets a bit abstract. I've used 7231 negative. Also, where might I have it done and how would I identify the exact frame? Thanks in advanced. T

Thanks folks, Can you explain in basic terms the differences between these two models along with the pros and cons: Eclair ACL and NPR Thanks again for helping me along, and any other posts are will welcome. T

Thanks for the response. I'll look into those. One other thing I'd like to add to my post is that I'd like to be able to shoot at least to 64fps. T

Hello All, I'm looking to upgrade to the next level in terms of a camera. I now have a Kodak Cini k-100 turret camera. I think it's extremely stable and durable. However, it doesn't have a reflex viewfinder, no zoom lens, and no motor only wind. My question is what would the "next level" camera be and is it possible to get one with a zoom lens, battery operated motor, and reflex finder, for under $1,000. One camera that seems to fill the need is a Beaulieu R16 w/Angenieux 12-120. Any recommendations on this model or others would be appreciated. Thanks, Tom

OK, I'm going to reply to myself :) FYI, I purchased a sony PCM-D50. It ran about 500, plus 50 for the wind screen. So far it's seems really nice. It's very intuitive, which helps if you're shooting alone. The quality (24 bit if needed) is also nice and it comes with a USB cable to go to you computer. Thought I mention it in case anyone searches for this subject. Tom

Hello All, I'm looking to purchase a field recorder. I'm almost a beginner to shooting 16 mm filming, but have a lot of experience with home audio recording as well as Video shooting and editing. I do have mics, but they are rather heavy. I would like the field recorder to be battery powered (I guess that's obvious) and have the ability to record @ 24 bit. The two I've been looking into are: M-Audio Micro track II and Zoom H-4 Does anyone have a recommendation or thoughts on the two above? Thanks, T

Anyone else have knowledge on this subject? Thanks

Thanks for your response Charles, I hoping some other people chime in as I'd like to make sure I'm doing the right thing before applying anything to the film path. T

Hello all, I have an old Cini K-100 Turret camera (see pict). It takes a great clean and steady images even at 64fps. However the last roll, I did see a small scratch on the film, occasionally. I never run it through a projector. I was going to take a can of compressed air to it and then clean it with some kind of solution, especially the film gate. My questions are: Should I remove the lenses and blow air through the shutter or would I be making more trouble for myself disturbing that area? What are people using to clean (as in what solution and wiping material) the film gate, inside of the camera etc. ? While I'm at it, are there any recommendations on lens cleaning and lubrication for the spring motor (which by the way, I can get a full minute out of one wind @ 24fps-that seems pretty good). As always, I appreciate the help here. T

Just an update; I was able to get the sound and picture synched in AfterEffects (software). It took some fudging, but it works. I just had to interpret the footage at a specific fps, like 26 for example as my camera is never running at exactly 24 fps. I don't think it would work for a 2 minute continuous shot, but it works fine for my short shots. Thanks again for the responses. T

Thanks guys. I am aware that the this camera wasn't designed for this, but it's the only camera I have. I tried Tobin and got a response. He was aware of the camera, but isn't going to be building a motor for it as it doesn't make economical sense. Thanks again to all who responded:) T

Thanks for the replies. at 48fps I can get about 30 seconds. I think that will be more than enough as I want to keep the cuts going.

Hello All, I've got an old Cine K-100 Turret camera. I'm wanting to try to incorporate some sound. Here is what I want to do. Kind of like a music video (film in this case) thing. I want to speed up the audio of a song to be twice as fast and film me lip synching to the song. While doing that I want to film at 48 fps. The idea is that after telecine, I bring the footage in @ 24 fps and the song in at it's normal speed. So the look "should" be a slow motion looking lip-synch to a song at normal speed. The problem I'm having is that I'm not sure that my camera is filming at EXACTLY 48fps (or 24 or 64 for that matter) so when I bring it in to the digital editing system, I can get it close, but now close enough. Hope this all makes sense. Rather then spend a few hundred more $, I'd like to get some input. thanks, T Also, what are other people in my situation doing for sound?

Thanks Charles. T

Thanks for the info guys. I'm aware of Optimus, but didn't know that they do transfers. I'll give them a buzz. Thanks again, T

Hello All, I've recently come back to shooting film. I'm shooting 16mm color most of the time and B&W occasionally. I'm looking for a place that does reasonably priced transfers in the area (Chicago). I have my processing done at filmworkers Astrolab here in town, but the cost of their transfers is a bit high for my wallet. Because I don't have a lot of $ to throw at my projects, I usually go for DV tape and edit in AfterEffects. Does anyone else know of a place in the area that I can check in to? Thanks in advance, T

Hello, First of all thanks for your patience with my filter questions. I've done a bit of research regarding getting a good looking sky (blue or blue with clouds). My understanding is that for B/W I can use a #8 or K2 filter (slightly yellow) to keep the sky looking as it does when we see it with our eyes. Regarding daylight color film, I've heard that a polarizing filter will help maintain the look of the sky (when it's blue or blue with clouds). Is that the feeling with you folks? Also, if I do using a polarizing filter does the camera need to be still-in other words no panning? Or maybe a ND filter? Any thoughts along these like would be much appreciated. BTW, I work across the street from the Sear tower and it's snowing like a billions flakes a second. Wish I could fit my 16mm in my pocket :) T

Thanks much folks. I appreciate your responses. T

Thanks folks. That's very helpful. Can you explain to me how ND filters are gaged? I have all of my filters, except for an ND one. If there is such a thing as an "all or general purpose" one? I'd like to pick one up. Thanks again for the help. I'll post something when I get it back. T