Tom Hepburn

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

I'm shooting some kids cutting a Christmas tree down tomorrow. Here in the midwest there is snow on the ground. I'm using 200T film (mainly because it's what I have in the camera at the moment). My concern is that with the light background (ie the bright white snow and possible the sun reflecting off of it) I might loose the subtlety of the details in their faces. Is there anything that I should know about what might help bring the details out of the faces (fliter, fstop)? There will be wide shots and close ups. Thanks, T

This might not be an option that you want to use, but if you're going to have it scanned, you can add grain in a number of software programs (aftereffects, Final cut pro, or even Imovie). Pro- you can control just how much grain you want. Con- if you're a purist, the grain isn't really coming from the film T

OK, so I just got back from two of the biggest "film" based camera shops here in Chicago and we could not find a filter or adapter to fit the lenses on my camera. They are approximately 45mm and 51mm. So that's not good news. Apparently they may have been a part of a certain "series" of lenses produced by Kodak or the lens manufacturer when the camera was produced 50 years ago. BUT, I did have an another thought as I'll be having the film scanned for the computer. I am a seasoned user of AfterEffects ( http://www.adobe.com/products/aftereffects ). For those of you who are familiar with this product, is it possible to compensate for shooting without a filter (either insider or out)? It can't bring something out of nothing, for example extreme overexposure or underexposure, but it does seem to work well with adjustments. Any thoughts along these lines would be appreciated Tom

Thanks Leo, So is most everyone here using a ND filter when they shoot outside? Tom

Hello all, As I mentioned in a previous post I have a Kodak K-100 Turret camera with 3 lenses: Elgeet 2" F:1.5 Cini Navitar Elgeet 3" F:1.9 Cini Navitar Berthiot Cinor 1.8 F:2.5 I'll be shooting Vision 2 200 and 100 and B & W 64. I know for shooting color outside, I'm going to need to get an 85A filter. I've also been told that I would need a high density filter if the sun is really bright (for B & W as well). In my limited search it seems like it's going to be difficult to find the right size/type filters for the three lenses. I have two questions: Should I consider this one size fits all solution (and will it work on my 3" lens): http://www.bhphotovideo.com/c/product/1867...4x4_Filter.html What if I need to use both the 85A and the high density filter at the same time? Also, are there any other filters I should be considering? I may shoot some inside as well. Thanks, Tom

Hey Michael, I took a look at the lenses and they are as follows: Elgeet 2" F:1.5 Cini Navitar Elgeet 3" F:1.9 Cini Navitar Berthiot Cinor 1.8 F:2.5 It does have a C mount. Tom

Hey All, Thanks for the welcomes and the info. It's nice to have this community. It's the internet as it was intended (IMO). I do have a follow up question if I can; I have 3 rolls of film I'm testing. Vision2 100, Vision2 200, and B&W 64, all negative. If I shoot all of it outside would I need to use a filter? If so, where does one buy a filter for a camera that's 50 years old:) Also, do I understand this correctly; the difference between super 16 and regular 16 is that super takes advantage of the addition film that was formerly occupied by the second set of perforations? If so, how does the lens opening reach that extra film if it wasn't designed that way. Is that where the file comes in? Michael Lehnert, the turret construction is solid to say the least. It's very heavy, but my tripod can handle it. I believe the lenses are 25, 50, and 75. In terms of Cmount and more detail, I'll have to check into it. Chance Shirley, I do use AfterEffects and have been using the pulldown, thanks for the tip. Which leads me into Mark's comment; Mark I have been editing digitally for some years now (Avid, Final Cut Pro, AfterEffects), so I'm much more articulate with those tools. Plus I can add layers of audio with very little effort. Again, thanks for the responses and get used to seeing me around here more. Tom FYI, the picture that I attached isn't my personal camera, but the exact model. Mine is a little more worn, but the lenses are clean and works beautifully mechanically. I'll know for sure in a couple of weeks.

Hello All, This is my first post. A little background: I've shot some super 8 film on numerous occasions in school, but I would consider myself a beginner here. I've just purchased a Kodak Cini K-100 Turret 16mm camera (see pict). I just had the lenses tested and cleaned by someone who came highly recommended here in town. Those of you who are familiar with this camera: How does this relate to the 16mm and Super 16mm discussions here? I'm assuming this camera is a regular 16mm camera as it was built somewhere around 1960. If it is a regular 16, should I consider modifying it (if possible) to a super 16? If I do, how will that change the processing and scanning, if at all? I'm shooting as a hobby for myself and will have it developed and scanned in (to a DV tape, so it will be interlaced) and edited on a computer. Any other information that applies would be appreciated. Thanks in advance, T