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Adam Garner

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About Adam Garner

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  • Birthday 12/28/1974

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    Austin, TX
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    Film / Motion Graphics

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  1. Awesome points all. I didn't consider the condensation issue, and I've actually had a full 100' roll end up with that weird flash after shooting on a ridiculously humid day. It was the weirdest flutter back and forth on the film and botched the whole thing unfortunately. I'd hate to cause that. I think the best advice is to just get it developed and work with the lab to figure out the balance later.
  2. I'm curious if refrigerating (or freezing) exposed film is a good idea if you can't develop it for several months. I put all my stock in the fridge pre-exposure, but what about after? Is there a noticeable degradation after, say, 6 months? Anything else to be concerned about?
  3. I think you're looking for high red/brown balance. If you're color correcting you can nail this during a scan. That's more "aged" polaroid though. If you shoot with instant film it doesn't really look like that. In fact, the loss of blue dye over time is/was a sign of cheap film... exactly what you're trying to recreate yeah? http://www.youtube.com/watch?v=dRJ6m_bV2KQ. Pro8 put this clip up where they cross processed reversal. I don't think this is exactly what you're looking for as it's REALLY saturated, but maybe if you dropped the blues it might work. I've seen some color corrected 100D that felt very "instant film"-ish to me. Don't discount the effect of a good "spotlight* camera-mounted light to purposefully create a vignette and blow out the center a bit, especially when shooting inside. Maybe a bit like the american apparel style shoots.
  4. Did you edit in FCP in XDCAM rather than ProRes? And, so, the post facility is printing out to film and they want your source material as ProRes? The benefit of ProRes is that not only is it comparable to uncompressed file quality, the file sizes are significantly smaller and is designed to play in realtime (with a lot of streams for editing) on intel chipsets. So, ProRes is a benefit in the post workflow. But it sounds like you did all your post in XDCAM (which isn't really recommended since it's a long GOP format). Most new-workflow post houses work in ProRes. That's ultimately (probably) why they would prefer your final edit in ProRes, especially if they are color correcting in Color. ProRes is like magic in Color since it can grade so quickly. You'd NOT want to do this in XDCAM. If you simply transcode your final edit, it's not really too big of a deal. You're not getting any better quality or anything... it's just a better post production codec for your post house. Hope that adds something.
  5. Adam Garner


    Hey, good question. On a Canon Scoopic you will not get a viewfinder modification because the ground glass isn't designed with extra glass to use. So you're approximating when you shoot. But it's not a big deal. You will end up approximating based on the TV safe lines in the scoopic viewfinder. Safe bet is to use the top and bottom of the TV safe zone (or just outside of it), and on the left and right you'll get some extra image that you can't see. So, it's not for critical framing, but you can approximate... Cinelicious has a good framing test on vimeo. Just search for it.
  6. Tom: Agreed, it's expecting a rewind, but the motor just wont do it. I suspect that either a) the electronics are a bit wonky as this thing may have not been used in 30 years or B) the motor may not be ready to go in reverse after only ever moving forward or c) there's simply some gunk someplace that won't allow it to move. I think it's going to have to go to Bernie. Any pointers on keeping the leatherette in decent shape if he has to open 'er up? I hear that it can ruin the look. :(
  7. I just bought a mint R8. I fixed some slight corrosion in the battery compartment. I wasn't happy to see it but it ran as soon as I got it cleaned up. No prob. I ran the camera at 24fps, 18, 54 and everything ran smoothly. I tried the functions to test them (fade in / out). Right after a fade the camera stopped. Normally this would indicate to me that it was in the middle of an overlap, or a double exposure. The Nikons (users will know) shut off, and expect a rewind on overlaps and de's. I have been stuck here scratching my head before. So, I set the rewind and it won't do anything. The batteries are registering as full charge. The motor for the zoom works fine. Everything is fine but the thing wont engage the motor anymore. One thing that concerns me is that the motor gear is disengaged. I can spin the motor spindle from the compartment freely. I compared with my R10 and this happens when it's done with an overlap and is ready to be rewound. So basically I'm stuck in a state where the R8 wants the cart to be rewound but it's not engaging for some reason. Anyone know about this? Anyone know if there's a way to reset the system so I can run it and try again?
  8. http://www.slashfilm.com/2009/12/17/watch-...phantom-menace/ If you can watch the whole thing (which isn't too hard actually), this guy nails it. Laugh out loud funny, and well edited, well thought out, and the most insightful review of TPM ever.
  9. --How does use of higher frame rates affect exposure? higher frame rate means you have less exposure time per frame. So, you have to compensate for that by opening up the iris (lower f-stop). Auto-exposure typically does this for you. I don't know anything about the 4008, unfortunately. Does it have TTL (through the lens) light metering? --The camera's ASA settings don't have a dot for 64. Just rough it? 64T is rated 40ASA outdoors with an 85 filter. Do you have an 85 filter, or does the 4008 have an internal filter (meaning, do you have a switch with a bulb and a sun?). Again, I'm not familiar with the camera, but you need to get as close as possible to those exposure ASA's. If you don't have a filter, expose it as close to 64 as possible and try and fix the color in telecine. Not ideal but will work. --I don't have a separate light meter. How do I set the camera to adjust for light conditions? Again, does it have an internal meter? It must... If it's TTL it should take care of that for you as long as you set the ASA right. NOTE : With water, since it's reflective, I'd suggest locking down your exposure. Take a reading in Auto Exposure, then lock it there. The reason is that occasionally you'll get a good shot of sunlight off the water right through the lens. The response of the camera's auto-aperture will be to close up. That'll darken the whole shot. You would definitely rather have the shot blow out or have a sunburst in leu of the whole shot darkening up for a second. Sorry I don't know more about the Beaulieu, but the principles are all the same.
  10. I will copy and reuse this forever.
  11. Follow the money trail. In my experience working with bands that I actually like and have cool ideas, well... they never have money. I do stuff in Austin, but there's no "industry" here, just great bands and talent. Labels have all the money. If you want to do music vids and make any $ I'd think you'd have to go where the labels are.
  12. Great eye. Did you shoot the timelapse at night (of the cars) with the bolex? I wish I could do a long shutter on my scoopic like that. I think the SD transfer looks pretty great. I haven't seen one that good in a long while. Is it 24p? Quicktime?
  13. I had a weird cyclical flash on some 500T recently. It wasn't blue, but it looked like the film was overexposed back and forth. It was weird, and I asked some folks about it that thought it could have been a roller. No one had seen it. I keep 100' rolls in the fridge and I got to thinking, they're not sealed like Super 8 carts are. They're only wrapped with that paper ribbon inside a plastic box. Is it possible that 16mm film in the fridge can get humidified? Also, the day I shot that footage it was ridiculously humid, summer in Dallas/90 degrees and raining. So bad that my lens would fog up any time I would pull the camera out. I wonder....
  14. http://www.bhphotovideo.com/c/product/5829..._LED_AC_DC.html ...is what I use. You know, I rent it for like 25 bucks if I have a shoot. Batteries, lowell and all. I tend to rent since I can't really justify making 8 hundo back on the light, but I want a GOOD one. :) Is there a good place in Berlin you can just rent one from if you need it? The lite-panel will brighten up a room like crazy. If you're shooting reversal that means Tri-X and 64T? 64T will be tricky to get enough light unless you're lighting a movie set. I've tried the lite panel and the film is just toooooo slow. Tri-X is ok, but you'll notice it really only picks up what's RIGHT in front of the camera. You're going to have much better results shooting 500T. You're in Berlin, but you're from Austin AND shoot super8!? Don't meet too many (that's good for me), but cool to connect with another. Bride biz in Berlin, or...?
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