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Adam Garner

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Everything posted by Adam Garner

  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...?
  15. Well, 50db isn't quiet. I don't have any squeaks though. I do have to warm the motor up if it hasn't been used for a few days. I have to pump it a few times. That may be on account of being nearly 40 years old. They say sound sync cams are around 27-32 db which is basically silent. So 50 isn't gonna cut it, but it does't sound like an air compressor either. But I have to say that, in my field recordings with an ambient mic, it's not too bad. I certainly wouldn't use it for a feature, but I think you could use it for run-and-gun interviews or outdoor shoots. The trade-off is that a scoopic converted to ultra 16 is ridiculously inexpensive, has auto-metering, it's ergonomic, and small. It's the perfect little 16mm camera for certain productions, or as a b-cam for hard to shoot spaces. If you're shooting a feature and don't need that run-and-gun style camera, a CP-16 or Eclair are all great for the price. Not exactly "run-and-gun" but perfect for production and quiet. I'm still curious if a barney would bring a scoopic down to an acceptable level. I know that custom upholstery makes them. I'd love to know what the level would be.
  16. I was reading the specs for an Aaton A-minima today and noticed the db rating at 30db. It got me to thinking, "Hm... I wonder if I measured my Scoopic db level what it would be." THEN it occurred to me: The App Store. So of course the app store has a wide selection of groovy db meters. I read most of the reviews which said the db meters were great, and registered db levels at just about exactly what professional eqpt would in a comparison. So, I thought it was worth a shot to get a reasonable estimate on the db level. I found it interesting that my "room" levels were at 40db. The chart that comes with the app indicates a quiet library is about 30db. Maybe just basic room noise causes a bit of db. I would assume deep space would be 0db. Scoopics are often said to be too noisy for sync. We've all gone back and forth on this one for a while, and I know that some scoopics run quieter than others. Important to note that I had my Scoopic 16M with Bernie at Super 16 Inc about 6 months ago, and I don't use it all the time. I run it occasionally so it gets warmed up. It's been on the road with me for some projects though and I've probably run about 800' - 1000' ft through it over the past 6 mo. He did a full CLA, but it was in reasonably good shape to begin with. So, my scoopic came in at 50db reading. I took that reading anywhere from 3-8 feet away and it came in nearly the same each time. Since a modern camera shoots at 30db, I'd say a 40 year old mos camera running at 50db aint too bad if you wanted to try it. I think a barney might knock off a few db and could even bring it down to 45db. With a little sound post you might just do ok. Keep in mind with a directional mic you're going to kill that db a LOT. I hear the sennheiser mics are amazingly good at being directional. So, basically, a Scoopic isn't silent. But it's not loud. Not sure what a CP16 rates, or an Eclair ACL. Maybe someone feels like downloading the "DecibelMeter" app and giving it a shot. Some comprehensive data would be cool to have.
  17. Nobody responded to this huh? Strange. Lighting is crucial! Especially depending on what film stocks you're into using. I've been using an LED light panel. It's a little expensive though. You can find less expensive versions, but the light it gives is daylight balanced which REALLY helps. You can also slip gels in front of it to bring the color temperature down for Tungsten or whatever. It takes 2 big batteries. Check B&H photo for some options for LED lighting. Another major bonus is that it will dim without losing color temp. So, if you're shooting something close, you can tone it down so you don't blow out the shot. I use it on the go, and the only issue is it's a little heavy, but bright as hell and will light up a shot with 500T in a really dark room.
  18. Pro8mm did the scan, and I'd assume they rented the camera (a Max8 1014XL-S most likely?). They just tweeted about it the other day. I haven't seen the movie. Did it look good?
  19. Check it here : http://tinyurl.com/glidecam In mint condition.
  20. I shoot without a modified gate at all. I just frame it in my 4:3 viewfinder for 16:9, ignoring the top and bottom 10% or so (whatever the math is). Then I transfer in HD. The results are bad-ass. No need to mod your gate assuming you have a good lens. I've not really seen a good example of NON-mod gate vs mod-gate side by side to get a feel for quality difference. Obviously with Max-8 there's a better resolution, but I dunno if it's really noticable. Some compressed footage here : http://vimeo.com/3021850
  21. Dexter: My 2 cents: I shot a roll of tri-x a couple weeks ago on my 1014XL-S only for projection. It was just a fun project to keep shooting. I tried to overexpose slightly as an experiment since some of the B&W I'd been shooting "seemed" dark. I set the exposure compensation to +1. The same week I blew my projector bulb out and replaced it with a brand new bright 150V halogen. When I got my film back, the result was that I didn't like the Tri-X over exposed AT ALL. It just looked, washed out I guess. Not very good contrast and it felt flat. Not like some TriX I've shot in the past. Stick with the normal exposure on a 1014XL-S. It's really perfect. If you're in a shadowy location like under a bunch of trees with some sunlight that might overexpose the shadows I MIGHT suggest overexposing by 1/2 a stop or 1/4. Lose the 85 filter. It'll only add to light loss/blurriness and it's not necessary at all. You don't need to color balance your film if it's Tri-X. Pretty sure the 1014 disengages the filter automatically when you pop in a tri-x cart. Just in case put the switch on the lightbulb. That will ensure the color filter is out of the way. You can double check this before putting your film in by opening up the aperture manually, opening the film door and looking through the lens from the inside. If you move the filter switch back and forth you can see the yellowish filter drop when it's on sunlight. You don't want that filter. TriX shines when you shoot in bright sunlight with dark accents. I've got some footie to share if you want to see.
  22. Andy, you're right! There are physical bends in the film, not really a hard crease, but it's definitely bent. I'm curious if that would be more likely to happen in the cart, or during processing... I'm curious about that lab...
  23. I'd shoot grey, and process as normal. If you shoot on a bad camera, you'll probably have very nice (read: natural) scratches. If you go overboard with sandpaper or something, it'll look like an art film, or like someone was pointing the camera at cement and running around. ... not a good "effect" if that's what you're going for. Just keep it natural. Use an old camera that you find at a rummage shop, and run it through a bad (read: uncared for) projector. Voila.
  24. I did, Alan. It was warmed up. I didn't tap it, but perhaps it should be a habit after cold storage.
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