Benjamin Cameron

OK, so the manual says that "during single frame operation, each frame is 1/4 second exposure". The standard shutter angle on the XTRprod is 180 degrees. Nothing in the manual about adjusting the shutter angle for still frame shooting, so I'm going to assume I don't have to. I'm going to meter my lighting using the "4" setting on my spot meter (4 as in 1/4 sec, the meter displays 500 for 1/500 sec exposure so I'm guessing the 4 means 1/4 sec exposure). So 1/4 sec exposure at 50 ISO *should work...

It's been stored at a very stable, dry "room temperature" for 5 years so it sounds like I'm ok. I'll probably overexpose it just a half stop or something anyway. One more dumb question - when I'm shooting single frames of film, as in making a stop-motion film, I meter as if I'm shooting with a still camera loaded with 50 ISO film, right? forgive me, I am super rusty on this camera (XTR-PROD), as I haven't shot anything other than still film in 5 years.

Chris and Daniel, thanks. I was thinking of going with the Ektar 100 anyway, but I'll try the Portra 160 as well. The load of Super16mm I'm testing for is rather old, from 2008, and may have decayed a bit anyway.

The film is daylight balanced, and I have to use artificial light to shoot this project. I wanted to test out a couple different light sources/levels on a similar daylight film, even if it's not the exact emulsion. I want to be sure of the color registration before shooting the Super16. This project is using up an old 400ft load that's been sitting around, so it's a small enough project that I can't shoot a whole load of tests. Thanks though!

I need to shoot some lighting tests for a project I'm doing on Kodak's Vision2 50D/7201 Super16mm. Anyone know the equivalent emulsion in 35mm still film?

ben, thanks for the reply. unfortunately, that's all stuff i would like to be able to do, but cannot. i often shoot in places with no mixing board, or at least no option to record from one. i am also usually the only person responsible for lighting and shooting everything, so 2 cameras just isn't an option. i've done that in the past, though, and what you described is a great way to shoot live music.

youtube link seems to be bad- here is a good one, i hope: http://www.youtube.com/user/bennybrownell?feature=mhee

Please don't rip me apart, I am far from a newbie to the camera. I don't know a whole lot about audio recording, is all. My situation: I shoot live music footage for YouTube, music videos, and general documentation. Recently, I have been shooting many doom/ death metal bands, and the heavy bass distorts on the recording. I use the built-in mic on the camera, not an external mic. I have set the "mic ATT" option to "on", which supposedly addresses the issue, to little avail. While shooting, i ride the audio levels to maintain even input with no peaking. I can't get rid of this problem, and am not sure I can fix it in FCP. Below is a link to my YouTube channel as demonstration. The latest videos are a good example of the problem, the live footage of Anhedonist and Ealdath. http://www.youtube.com/user/bennybro...ature=mhee#p/u Any advice would be helpful. I don't need or expect "perfect" sound on this type of video work, but would like to not have this bass distortion in general. I'd also prefer to continue using the on-board mic, if possible.

Thanks, can you recommend places that I can find silica gel at? I assume you mean no ice in the cooler, then? If it stays out of the sun, that is.

I'm shooting a documentary where 12 rolls of super 16mm color negative will be away from a fridge for about a month. I've never had to keep film cool for an extended period of time in the field, but I know there are simple ways to do so. My plan is in a small cooler with nothing else, just film. Would ziplock bagging the film help with moisture? We'll be driving around Northern California for a month, so the car with everything in it is going to be hot. I'll be mailing exposed film back to the lab as we shoot it, so we won't be storing all the exposed film for weeks. I also have a question about loaded magazines- how long is "too long" to keep them loaded and periodically shoot with them? We'll be in less than ideal loading situations, and I'd prefer not to have to load a mag every time I want to shoot a couple of minutes. Dumb questions maybe, but...

exactly what i'm using it for. a documentary on the Redwoods. hard to imagine a more vertically oriented subject.

Or, on the cheap, you can mount the plate sideways on your tripod and "tilt" the camera onto it's side. Of course this is not good with a very heavy rig and you lose the ability to tilt proper. Exactly. That's why I made this mount, all it cost was 4 hours of my time and 0$.

Here are some photos of the mount, pretty straightforward, just a 90 degree aluminum L with a couple of threaded holes and a reinforcing brace below. It works great!

Does anyone have any relevant experience with insuring a camera package worth about 50k? Good providers/bad providers etc? I don't know much about it, but i believe i want general insurance against loss/theft. Any recommendations would be great! Thanks.

there is an image of the lens in question on the duplicate post, i can't seem to delete this post.