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Adam Garner

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Everything posted by Adam Garner

  1. I'll bet Michael Mann is playing with himself watching this promo vid. I mean, ok.. whatever... maybe you have iMovie and now you have an "hd" camera (iPhone) for "serious" moviemaking as they say in the promo. This could end up being a toy, but it's such a creative necessity. I love that this is the PRO model.. and there's a CONSUMER one on the way. Talk about marketing. Blech.
  2. The price is even more ridiculous. Nearly 300 bones for a handle?
  3. This made my day. I think this guy nailed it.. and I think the chorus rawks... anything with mariachi's rocks.
  4. Ultra is the more economical route, really. Cameras are cheaper (like the scoopic), and the mod is only about 4-500 bucks. I would think that the projector would be easier to modify to ultra. With super you have to recenter lenses. I can't imagine that a projector lens could be recentered for cheap. Keep in mind that if you go super, you have to buy super16 lenses, which cost several thousand dollars. That's to make sure it covers the S16 frame. Ultra works with regular 16 lenses.
  5. They've always been forthcoming with me, as far as I know. I always knew that Kodak stocks were re-cans and Fuji were new. They explained that to me a few years ago. ??? Maybe only some of the people are forthcoming...
  6. Bernie fixed it. The calibration is in how the glass is glued into the enclosure. The "glue" was actually softer that i expected when I was cleaning. It was more like REALLY thick petroleum jelly. Needless to say it only took slight pressure after opening the enclosure to push it out of alignment. Good to know!!!
  7. Bernie fixed it. The calibration is in how the glass is glued into the enclosure. The "glue" was actually softer that i expected when I was cleaning. It was more like REALLY thick petroleum jelly. Needless to say it only took slight pressure after opening the enclosure to push it out of alignment. Good to know!!!
  8. Agreed. 50D is such a great speed for outdoors. Even with 250D I had to make an NDx6 and it was still blowing out. I'd save it for overcast days, and use the 50D in bright sun. If you WANT a granier look you could just underexpose the 50D a little and push more light through it during telecine, no? I think if you use 250D in full sun, or even 500T, you're going to get a flat as hell image since the aperture is going to shut down.
  9. I really like the movements. You've got some great jib/dolly/truck shots that are well thought out. Any favorite rigs you used for this stuff?
  10. One of the better websites I've seen. Very straightforward. Content too, of course. Did you design it? Like the video selector component you used. Is that public source??
  11. I'm looking for a Scoopic Repair Manual for the 16M. I'm not doing any work on it, but I want to understand some of the internal workings of the camera. I can't find one online except for the people selling them for 20 bucks. Does anyone have a copy they'd like to "share?" Adam.
  12. I always get about 3-6 frames exposed. There's really no bleed into the other frames after that. The cartridge is light-proof. You may get a 1/2 frame that's blown out. That can be pretty cool too, but doesn't always happen. You will always get the roll-in roll-out light show. It's different than the 16mm type from day-light loading, but similar.
  13. Ernie: There's a company that manufactures custom barneys called custom upholstery products in Van Nuys. They may have a custom barney to fit your beulieu? I don't think they're TOO expensive either. As far as home-made solutions, I hear of a lot of folks using furniture blankets (like for moving). Maybe you could bungie one around the camera? I've had some luck with soundtrack "reduce noice" function, but it really depends on the camera. Super 8 tends to be more of a high-whine than the grumble of 16mm. That means it will try and filter out those highs, and the results can be "under-water-ish." If you kill your high end whine, you'll probably have more luck filtering. So, a mix of barney and post-effects may be your winning combo. Don't forget about doing a fake-take with the camera NOT running. You can time stretch and compress dialogue that doesn't match exactly, and you're more likely to get clean results. I would suggest doing the dialogue take right there after the camera take. That way the sound is more authentic than doing it in a soundbooth later. I'm of the opinion that you can ruin a good visual movie by bad sound dubbing.
  14. I think what you're referring to is called film roll-in / roll-out. It's not at the beginning of a scene, necessarily, but at the beginning/end of a cartridge of film. It's the result of the ends of the film being exposed and not having the exact chemical coating as the rest of the film. It's sort of a crazy light show, rather than a flash of light. Not an effect, but a "feature" of the film. If you shoot super 8, you'll get this every time. If you take the film out of a camera you will not get this roll-in / roll out effect, but more of a white flash for a frame or two. Don't think a crappy old super 8 is a good idea. I am not sure why people assume "and old crappy camera" is ok with super 8. The difference between film shot on a high end canon or nikon vs. a low end no-name camera is like night and day. With modern film stocks low grain super 8 is a pretty amazing image.
  15. Ah, that's a crucial detail. Sounds like the sample rate on the music is off. I've experienced something like that I think. Make sure the sample rate matches the timeline in FCP. Export isn't catching that for some reason.
  16. Are you using compressor to export, or quicktime compression direct out of FCP? If you ARE using compressor, you may want to try direct out of FCP. Compressor has typically presented a host of issues for me. If you AREN'T using compressor, try it. That should help isolate where the issue is coming from. Also, search discussions.apple.com. Lot's of smart folks there and if the issue is common you'll find a solution for sure.
  17. I think this issue is with this particular lens Ultra typically allows for all standard 16 lenses. Super covers about 20% more real estate, so needs very specific lenses to cover said real estate. btw, Luke, shot 6 rolls on the Scoopic Ultra last week and it's getting processed/transferred next week. I'll keep ya in the loop. Did some sound sync tests as well and it runs quiet enough. Adam.
  18. Hey Dave: I think I meant to say infinite dof. I confused myself with the terminology! So, with 500T in daylight you'll have no dimension, just deep focus. That's ok for landscapes. I should have added if one were to decide to use 500T for exteriors, they would have a pretty flat look. I don't think that's such a hot look...That's what I meant. I personally wouldn't like that. Make more sense?
  19. I agree with David : take a light meter out and do some spot checking. I think 50D is great outside. I just shot a bunch in West Texas, in the desert. I even needed an ND6 at times since it was so bright! I don't know how it performs in the shade though. I just sent off some ultra-16 tests I'd be happy to share. Lots of sunny/shady mixes. I don't know how the eclair is, but I shot with a scoopic and the viewfinder goes dark at higher t stops. So, using a fast film is a major pain for shooting outdoors. I stick with 50D for outside.
  20. I would take a light meter out there in the morning and take some readings. Since you're shooting landscape, your going to have a very deep focus anyway, so a faster speed film would be ok... But if you want to use the same stock during the day you might want to stick with something in-between, like 250D. The issue with shooting 500T during the day is that you have to close your aperture SO much that you lose all dimension (absolutely NO depth of field). That's where a 50D or even a 250D comes in nicely. I'd imagine that even with 50D, with snow during the day, will need about NDx6. I just shot a bunch of footage in West Texas, in the desert, and had to use NDx6 to keep the aperture around f16. Seriously. Here's a weird idea: shoot 250D for the sunrise. Then shoot the 50D underexposed by 1/3 stop or so, Then in telecine the grain structures might match. ?
  21. That's exactly what I did. I removed the assembly to clean inside. I don't understand how the diopter is designed, so I don't understand how it may have slipped out of adjustment. Is this something that is easy to adjust?
  22. My scoopic 16m was working just fine. I had a very small hair in the viewfinder and I took the casing apart inside, where the viewfinder is. I gave it a quick cleaning with a lens cloth, very lightly. After putting the thing back together, the focus is totally weird. For example, if I zoom in and focus on something (say a landscape at infinity), then zoom out the entire frame is blurred. To sharpen it up, I either have to focus at it's lowest focal point (even for landscapes), or click it into macro... What could have caused this calibration issue in 5 minutes? There is nothing very special about the design of the viewfinder as far as I can tell. For the record I sent to Bernie O'Doherty at Super16Inc, but I wanted to know what I may have done... or see if anyone has ever had this issue.
  23. I haven't had ANY issues, and have always had a fairly good relationship with the folks there. It's not an excuse, but they are in the middle of moving starting today. Perhaps things are a little hectic over there? They shut down S8 and Reversal processing today, so maybe that's part of the problem with the "lights being left on." Not cool, but things may be extremely out-of-process as they have to move their lab. Can't be easy. Still, no excuse though. Sux about them not being a little more helpful re: the prepaid carts. I dunno how that works, but it's obvious that there's a total miscommunication. Dunno who's fault that is but clearly they want their money. :)
  24. Bummer about the poopic. Someone must have really treated it rough. What Saul says is true. You could try and find an ACL. There are some advantages. Not as ergonomic or "hand-held" though! I'll say as a run and gun camera I'm diggin' my scoopic, and I think with a good super-cardioid mic (sennheiser 416) and some finessing in protools or soundtrack, you can do totally get soundsync. I'm doing some tests right now. I've got a guy that does barney's that look great too. Haven't bought one yet, but looks like it'd shed many dbs. Good luck!
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