Roger Richards

Hello everyone, I have a couple of questions about using short ends and recans. My experience with shooting motion picture film has so far been limited to factory daylight loads of 100-foot 16mm. In the future I am looking at using short ends and recans on an Eclair ACL with 200 and 400-ft mags. How would one go about doing this? From research through these forums I gather that after purchasing the stock I would use a changing bag to load it on spools. Are short ends loaded on spools and then sold, or is it necessary to load it oneself? Do I need to buy spools? If someone could enlighten me on the process I would be most grateful. Thanks.

Thanks for your replies, Will and Allen. I think what might work is telecine to either DigiBeta or 10-bit uncompressed to hard drive, then edit in FCP uncompressed. Perhaps out Apple 10-bit uncompressed or to ProRes 422 then scaled to HD from there. I am more concerned about the 4:3 archival footage at this moment.

Hi folks, I am grappling with a decision. I have been using a Canon Scoopic 16M and like it very much. Now I have an important decision to make regarding format before embarking on a doc project. The scenarios are these. 1. Shooting 16mm in 1.33:1 (4:3) and editing as 4:3 because most of the archival footage I have is already 4:3 Beta and mini-DV. 2. Shoot 16mm and during telecine scan the 16mm Scoopic footage to 1080P pillarboxed in ProRes 422 to a hard drive. This will be then down scaled by putting it into a FCP 720P timeline. The archival 4:3 video footage will then be edited into this, essentially scaled up to 720P. Output final doc as 720P pillarboxed footage. (In this scenario, would it be fine to go 1080P or 720P pillarboxed? The archival footage will look rough but it fits the doc subject, which is war.) 3. Shoot 16mm with slow film and compose for widescreen, telecine to 1080P, drop into FCP and scale to 1080 or 720 full frame (non-pillarboxed), do same with 4:3 archival footage, even though it will look rough. 4. Acquire a Bolex S16mm and go straight to 1080P telecine, edit as 1080P. Next, pillarbox or scale the 4:3 archival footage to 1080P in FCP. I intend for this to go out to DVD or project digitally, not for film transfer to 35mm. Any thoughts on this would be appreciated. Thanks, Roger

Will and Mark, Thanks very much for your replies. I actually found a Scoopic M in very good condition that had recently been serviced, with an excellent battery. This is a b-roll MOS camera for me, to be combined with HD. Let's see how I can do with it. This is my first motion film camera.

Hi everyone, I am looking for views on the Canon Scoopic cameras for use as an MOS camera. I received some advice that this camera was a good one for use as a b-roll MOS unit, and it has remained in my mind, so I am asking for any other opinions. Thanks.

Will, thanks for the info on the Scoopic, I had heard about it but not in the detail you provided.

Hey guys, thanks very much to all of you, I really appreciate your help and your best wishes. I actually have been looking at the Aaton LTR7 as a possibility over the A-Minima, it might be a more cost efficient way to get in to film. I was also looking hard at the Bolex cams but not sure if I really want to go that route. I will do some more research before actually tasking the plunge. renting is out of the question for me as it makes more sense financially to have my own film gear. Much of what will be shooting is overseas, and for weeks at a time.

Hi Vincent, Thanks very much for your reply. What you said about the 200ft reels, and that only Kodak makes it as a special product, is one large concern. I really like the small size of the A-Minima, and Aaton's reputation for reliability. My first DV camera years ago was the Canon XL-1 and that design was actually modeled on the Aaton LTR series. An XTR would be nice but I cannot afford to own/justify the purchase of one of those with the amount of film work I will need to do. It is also quite large. Anyway, my investigation has also led me to look at the Bolex H16 SBM cameras, which are also really compact. As sync sound is not really a priority at this time I wonder if perhaps this type of camera in S16 would do the trick, allowing for 100ft and 400ft options. You have given me a good start with lens suggestions. I have been trying to find a conversion to approximate equivalent focal lengths in 35mm, so I can mentally picture what the coverage of S16mm lenses is like. This is an exciting move for me, beginning to shoot motion film. As much as I like HD the aesthetic quality of film is unique, and I only shoot film for my documentary still projects. All best to you.

Hello everyone, I would like to ask for some help on a Super 16mm kit for a documentary project. I have been shooting DV and now HD for ten years, and have a background as a documentary still photographer using film for over twenty years. I have a project that I have been considering adding film footage to for aesthetic reasons. It is being shot primarily in 1920x1080 HD, specifically a Sony XDCAM EX-1. The S16mm camera I am considering is the Aaton A-Minima, specifically because of its compact size and low profile. My idea is for the film footage to not be the primary source of footage, as interviews will be shot in XDCAM EX. I would be very grateful for any suggestions on this specific camera and what 2 PL-mount lenses would be recommended to get started. I also have Nikon mount lenses so these would also be in the mix. Thanks.