Tom Hepburn

Now that IS cool. The sound is equally impressive. I wonder how it looks in person.

Hi Andrew, One question that you'll need to ask yourself, is are you going to record sound, particularly dialogue that needs to be in sync. That is one of the things that will make a very big difference in a camera selection. I would suggest that you give a little more detail as to what your goals are and any other details about potential projects. The question(s) alove are a little vague. Good luck and welcome. Tom

I can say that Elliot's company does great work and has awesome customer service! I have had super16 transferred to HD (1920x1080). Tom

What I mean is that gmail is a free account. If one purchases their own website/domain name for business the domain name would be a part of their email, like Solar Productions for example. I feel that the company has made a commitment to doing what they do by having this to support their "product." As a consumer in the internet marketplace, I have more confidence in a company with it's own domain. With that name, I can search for reviews do a little more research before I spend my money. You don't need to feel that way, but I do. Tom

Hi Nick, I've had this exact same problem on a 10 minute clip. This is what worked for me, but keep in mind my Quicktime movie (pro res as well) was transferred at 23.98 fps. You may want to check that info in FCP or QT player. If your your quicktime movie was transferred at exactly 24 fps, then this solution won't work. Obviously, you'll want to have a backup of your audio file first. If you go into an audio editing program and change the speed or pitch to 99.9% and then re-import to your timeline and all will be fine. You may also be able to do it from within in FCP, but I've never done it that way. good luck. Tom

"Go Adrian, Go Adrian, it's your birthday!" You're an asset to this board for sure. Thanks, Tom

I had some footage that looked almost the same. I know it was through the viewfinder because I was driving the car and needed to pull my eye off to make sure I staying on the road. It didn't happen anywhere else in the footage. I also like to seal my magazine with black photo tape just as a precaution. T

They may be good I don't know, but I'm not sure how a professional conducts business through a gmail account.

I believe because it doesn't require you to recenter the lens.

Thanks for the info folks. I was afraid that was the case. I tried to get some 100T, but they didn't have any aminima rolls of it when I ordered. I had to order at least 9. Tom

Hello All, Given my limited experience with color film, 7201 50D in this case, I have a question: I'm going to see a AAA baseball team next week and all I have is 7201 (50D) film. I believe it starts at 7 and will end by 10. So the light conditions I'm guessing will be transitioning from dusk to dark. Is it possible to get decent results with 50D while under baseball stadium lighting. I'm assuming I'll need some kind of filter (85 maybe?), but then I'll lose at least another stop although I do have some fast lenses. To further complicate things, I'm sure there will be some time when there will be a little ambient sunlight AND stadium lighting. Any recommendations for this? If it's not possible to get good results, I do have some 7231 black and white I could use to get a little more speed (80/64). Thanks as always. Tom

"It doesn't take any software. 3D images were done like this the whole way back to the civil war:" Yes, I've got that civil war book of 3D images. Pretty cool that they were doing that back then. T

HI Carl, I would light the green screen with the goal of getting a good key out of it and nothing else. Once you get (or pull) a good key you canput anything you want behind the subject. Just make sure you light it evenly, flatly, and keep the subject the point of focus. Good luck, Tom

Hello Again, I'm starting to move to shooting color after working with mainly black and white. I was struck by the cost of a Color Chart? As usual I'm trying to keep an eye on costs so I'm wondering if this is something that I could put on my "Do It Yourself" list. Obviously, I would need to buy materials, but not sure what kind of "swatches' to get. Has anyone done this? It may be better and more efficient to just buy one, but thought I'd ask the question first. I should add that although quality is my #1 goal, I'm doing this for my own personal use. Thanks in advance, Tom

I've used this one and have been really happy the results: http://www.abesofmaine.com/item.do?item=RO...2&l=FROOGLE It's at the high end of your price point. I would also leave room to add in the cost of a shock mount, blimp, and/or wind screen if you going to be recording outside. Good luck. Tom

You know I haven't never been asked for anything in terms of documentation and I shoot around Chicago a lot. Keep in mind it is usually just me and one other person and I try to stay out of the way. I'm also using an Eclair 16mm which is pretty discreet. I have tried to shoot in the library here which was not a problem UNTIL (as was mentioned) I told them I had a tripod. Then I was told I would need insurance. I can understand that, but surely can't afford it. I believe that if I'm not obstructing day to day life of what's going on around me (in the city), then I'm going to be fine. I see it all the time down here, where people set up tripods near the side walk, but out of the way and just let it run to shoot people walking. If I was asked by the police what I was doing, I would tell them I'm shooting this to get into film school. If they ask me to move, I move. The cities are big enough to get the shot at a different location. Tom

That looks sweet Tim. Would love to see some images from it when you get some. Tom

Hope you had a great "special day" Tim! I too want to thank you for this site. It and the people here have excelled my learning more than I thought possible. Tom

Thanks gentleman. "Is there a reason why you'd purchase it so far in advance?" A few factors; I feel better having stock close by, if something develops that I would like to document. I'm also finishing some shots for a little film I'm doing and I "might" need another 400ft. roll. which is the result of loose planning, ideas in progress, and not getting enough film for what I'm shooting. Not surprising being that I don't have years of experience. It's turning out to be a tough call for me as I usually get a few extra shots that "might" work, but I'd rather shoot them and have them as an option later. In short, I'd rather have too much than not enough. Tom

I've been thinking about his for a while now. I probably won't shoot again for two months or so and when I do it will be using 7231 plusX black and white neg. My question is, is it better getting fresh film a week before shooting (from Kodak) or for convenience sake getting it now and freezing it for two months? Thanks, Tom

Thanks a lot Tom. I appreciate it. Tom H

Maybe I'm reading the post differently, but it seems like he knows he has a Cmount and wants to have an adapter to go from that Cmount to PL.

Hi Gareth, I too enjoyed it very much. I particularly like the use of camera movement and zooms (just enough). Interesting all the way through. Tom

Hi Trevor, When you done with that one, I would highly recommend this one: http://www.amazon.com/Cinematography-Third...z/dp/074326438X Tom

Hey Tom, Did you mean to include a link? I'm all about do it yourself. Thanks, Tom