Alain Lumina

Thanks for all the ideas. I do have to study up on the reflected light function on the 394 meter when using that attachment. I really love how I can just slide in the screens instead of trying to rotate and read some eensy lettering. Also, that gives me the opportunity to lose the slides. As far as equipment goes, I think I need to get a better tripod before I spend the money on a spot meter. It's more central. So, I'll try: 1) Sunny 16 with Kodak 50D 2) Reflective readings with my 394 3) ND filters extrapolated from the above for shallower DOF 4) With and without polarizers. Oh yeah, recommendations on polarizers, I think the Canon lens is 72mm thread. I'll try to post some of the telecine grabs, even I can make Tahoe look good. AL

A query in response to David Mullen ASC's post: David, ths offers me an opportunity to ask for some ideas on ways to avoid the overlit, flat lighting of comedies, as I had such a comedy COME OUT OF MY MIND whether I liked it or not, it's about a woman with a history of a disastrous love life who takes some loopy steps to fix it. Boy, does she fix it. I usually write dark dramas, and although this is a RomCom with a happy ending, I think there must be some way to light/shoot it so it is visually appealing instead of flat and garish. This is a super-micro budget deal, under 50k, 16mm but we have time because I own the camera and we are working only on weekends so we can wait for multiple mafic hours and so forth. I welcome ideas from anyone, not just high-level professionals like David. Just, please, don't tell me to get a ton more money and "do it right"- not all of us are geniuses with connections. Implicit in "do it right" is waiting, which personal circumstances prevent from being an option.

I'm shooting in 16mm, and have learned how to use my incident light meter.(Sekonic L-398) I was taught to point the sensor at the light source that will be illuminating the subject. However, how do I meter when the light falling onto the subject is practically unavailable to meter. In particular, I ran into this situation doing test shoots in Tahoe. I am shooting from a shaded road, I want to shoot at the opposite sunlit side of the lake. I can't, practically, drive for an hour to get around to the side of the lake onto which the sun is shining to get the reading from the sun coming down. How do I meter in such a case? Should I just try to use reflected light in this case? Thanks

. Thanks for your offer; at least I know CP mount Angenieux's exist. I think I saw a similar one on Whitehouse web page ( 5.9 , T2.0) , seems well out of my range ( 1700+) I only paid about 1300 for cam incl. service by Bernie. I am looking or something for occasional tight shots, <500, doesn't have to be an exceptional lens like this one appears to be. I am a total microbudget producer, a few hundred a month is my budget for film etc. I don't have money. I just hate digital. Maybe an adaptor with a cheaper lens would make sense?

Hello, I have a CP-16r that is running quite well with a 12-120 Canon Macro Zoom. However, for cramped locations I want to get set up for wide angle, something between 5 and 8? ( after I pay Bernie off for setting the cam/lens up!) 1) Can anyone tell me if there are older Mitchell mount lenses that may fit as well as CP proprietary 2) What adaptors are available to -use other brand lenses ( angenieux, etc) Thanks

I'm not sure which version this one is, but I loaded it on my website for your convenience: ( The first two pages are poor scans but they improve) www.magicalrealismfilms.com/cp16-technical-300dpi.pdf

Another 50 feet trouble free, I think I had the bottom loop too tight. It looks like the top loop is self-adjusting, but if the bottom one is too tight there's no self-adjustment mechanism. NOo, more batteries, mattebox, I win when I'm broke!

got it working for now . will be great to eat crow a second time too.

the answer about the noise is that I was NOT running it through the camera. Trying to run film through it, I don't think I've got it working at all. I've threaded it correctly I think, tried different tensions, but the claw seems to emerge a little too low ( the film moves downward past gate) so as it emerges through the perf the bottom side of the claw is rubbing on the bottom edge of the perf as it comes out through the perf When you do with the inching knob it will go through all right, but once you turn it on to 24 fps no good. the claw starts pushing the film up away from the gate by hitting in the wrong spot with the pressure plate jumping around, obviously not working right as far as I can tell. I'm calling super 16 to see if I'm doing somehing wrong and will see.

Got her back! CP-16R Ultra 16, CLA's by Bernie, complete with colorful narrative when I called them Fun and expert to deal with. It runs so quiet I thought there was a problem. I would say as long as the cam is two feet or so from the talent, no problem. I have some short ends from NY Company, now to get a meter and start making a real mess. I'm in Sacramento.

I posted on "General" and no one answered, maybe my questions are too jejeune; sorry for repeating. I'm going to be learning how to use my "new" Cinema Prodcuts CP-16r ( Ultra mod + CLA + Collam by Bernie) . I'm going to get Cinelicious to scan it, they say they can handle Ultra, I believe. I obtained : 1) an assortment of short ends and 100 ft reels of [tested] different stocks 50d to 400t 2) a canon digital camera which has a shutter priority mode with spot, center and overall scene modes. I intend to use this as a light meter. Also it has a light density graph. So I think I need a clapperboard to write settings on, so i will know which exposures match which settings. I don't think it's worth it to get a $1000 timecode board, although I think it would be good to get one with a clock taped to it to help organize shots.... I know it sounds cheesy but if it's 80% of the benefit for 20% of the cost.... I'm also deciding between a Tascam HD recorder which takes time code, and a Korg mr1000 which has super fidelity I'm told but no time code. The cam is crystal, but I think this type of shooting is still considered "wild," yes?, because cam and sound recorder aren't linked. Any obvious total misunderstandings there, enlighten me, thanks. Any recommendations ? Those color bars look like a good idea for post, yes? A gray card too? Thanks!

HI, I'm planning on using a digital still cam as a light meter for my CP-16r, shooting self-financed experimental. The canon A590 is has a good display with zebras, F-stop, shutter speed, date/time and a intensity graph (see screenshot here: http://www.magicalrealismfilms.com/cam-meter.jpg ) Do you think the display will be bright enough to be shot by most films? the worst situation will be daylight with say 50d film. I could copy the info onto a clapper board with color bars, but this would stlll be a good reference in addition. Don't know if anyone has tried this. I'm very disorganized and, of course, I should have someone writing all this down right? That would be fine if I had the money! Thanks Lumina

OKay. got the estimate from Bernie, and it looks like it's not too bad. all the cleaning, belt , battery , and lens overhaul will be $720. That includes an Ultra 16 conversion. So we're up to about 1300 , and now I'lll will start thinking about testing stocks. Any recommendations on getting a color bar clapper board? for a pretty snazzily refurbed cam, with sync sound , 400 ft mags, and a fairly reasonable shoulder held shape.

Hello All, Thanks for info on maintenance for the CP. I realized it's serial #15xx which means bow tie, I think #1955+ or something is half-moon, so I'm just counting on Bernie to tell me if shutter tech is OK/Fixable / neither. It seems Bernie in NY is a diligent, genial, low overhead expert-- it was exciting to get to talk to an academy award nominee. They do an Ultra 16 mod for really cheap, especially if you bundle it with a CLA. I know S16 is better, but they told me they don't do it on CP-16r due, I think, to certain irreplaceable proprietary IC's in the CP. Othe vendors are around $3000-$4000, too much. I'm saving up for two-perf if I'm going to spend that. If they start moving around the lens mount, and fry something, CP's may be unfixable due to the unavailable IC's; so they don't want to be in that position. I talked to cinelicious about scanning ultra HD to hard drive, and they seem to have a positive. collaborative, reasonable priced, and genial ( that's important to me) approach. My proposed model of distribution will be direct-sales, all digital, with no realistic plan on going to theatres, which I think is unrealistic with my budget and lack of total genius. Cinelicious does handle Ultra, and I guess Ultra adds about 1/6 more resolution scanned to wide-screen relative to 4:3 Reg 16, Super adds about 2/5 more?, but the camera cost would be so much higher I'd have the slight problem of not being able to make a film at all! I should be able, barring unfixable IC problems, to get the Ultra 16 rig going for: ~600 cam cost with Canon Cine Pro Zoom ( Bernie says they're good) ~800 adjust with Ultra conversion, extra battery, extra magazine. ~600 Nagra/Fostex sound recorder ( Probably mono Nagra) ~1600 SChoeps 641 cardoid 1600? ~2000 Refurb Mac 17" Laptop ( has one year warranty from Apple) my old tripod and the CP on the shoulder-- news style! (Hooray Ozu and the fight against Shakeycam!!!) 5600 Production startup cost without lights. I already have some Mole fresnels ( a 2k and a Midget) , I'm not really sure what I can do for outside lights at night as the whole generator truck thing is way out of reach. The cheapest way I see right now for brief remote shoots is those cheap ($25) rechargeable "Zillion Candlepower" lights from Auto-suply stores. I know, everybody says "You're wasting your time without pro lights, but, if I listened to everybody, I wouldn't make a movie, would I? I think the sweet spot for me is to shoot in the time spot before magic hour where natural light is enough that reflectors and scrims can shape things to my advantage. I'll post for more info on the lighting board for that.

ACtually , 5xxx was the MAGAZINE serial number, the cam is in the bow tie range at 15xx. But it was next to nothing and it looks cool, which is more important than everything else anyway. The things that has a sucking quality is that there is no power cord to run from the adaptor, it looks oddball, exotic and expensive..... ooops

I just bought it. I think serial # > 5000, which I hope means half-moon, not bowtie shutter. Screenwriter with hardly any movie experience, quite a bit with 35mm still cams. Recommendations /Advice on: 1) books, 2) service locations, ( Batteries need recelling, pretty sure ) 3) poss Super/Ultra conversions?. 4) duh, I think I need a light meter too 5) How not to destroy it. Do these work underwater? ( Just kidding.) TIA Dr. Lumina

I read of one way to rather easily keep abusive people out of forums, when I researched one website which would attract some very eccentric individuals. The moderator has adopted the tactic of charging a mininal one-time fee, I think it was five dollars, to start a new account. So if someone was unpleasant, the moderator could block the account, and the unpleasant person would have to cough up another five dollars to start a new name. Few people are insane enough to keep doing that just to get one more insult in. The won't generally masquerade as someone else, because they are seeking the feeling of WINNING by intimidating others as themselves. It's not ideal, but would make it a little more worth it, for someone really deeply knowedgeable like leading DP's.

I'm not going to make a defense-- I watched too much Noir. My girlfriend was not amused- "Can we watch Roswell?", but it gets worse: I want to make one, too. So I found out two-perf is the cheapest way to get the look, see. And my girl ain't too fatale, but when I buy that 10-20k cam, the heat's going to come down-but good. I've gotta have a story, see?- a story to fend her off with until the dough shows. JOE I bought this 16k camera modified by this guy in australia to shoot a film noir feature." ( edges backwards. Dish flies by) I can rent it out, babe! So I'm trying to find out-- Mr. McNaughton sent me some prices on 2-perf conversions-- I think I can get a decent sound camera with lens for under 20k. So which one should I get so's I can rent it out between flying dishes? And how, besides having genius lighting and DP, can I get those soaking saturated blacks? Thanks, now I gotta go. If you don't hear from me, my script is under the garbage can in back. With the Airweight on top. If you don't see me, it means I didn't get to it quick enough.

Hello; Independent writer/producer here, saving up for a non-commercial fantasy feature, lots of outdoor scenery, water shots, definitely need portability. About one third will be indoors with electricity available. I'm figuring out what camera to get to shoot my film. It looks like the sweet spot in price-performance is among these stocks-- full 35mm seems too expensive, regular 16 may lack adequate resolution. And politically-promotion-wise, with 2 perf you can say "It's on 35 mm." Ideas, opinions, sales pitches? Thanks Alain Lumina http://magicalrealismfilms.com/poster.mov

I'm inexperienced, but there may be factor like playing live music-- when you KNOW there's only one chance, that may hurt-- but also can IMPROVE-- performances-- This is IT. Here and NOW. Like real life. It sure focuses me, when I play a musical gig.

I'm a newbie, having the explicit torture scene really early is too gross, the shots of chicks are hot, good taste in women, you could tone down the grisly aspect and still keep that fun exploitation vibe. I'm old yet inexperienced and you shouldn't listen to me, younger audiences are numb to all the violence.

on short reel the aspect ratio is hosed on Mac with fireox browser for me. Thanks for making your stuff available.

I've got an XH-A1 and you can really get great pics with it. The warnings: 1) It's set up to capture neutral, accurate video-- not highly saturated, exaggerated footage , I'm not a DP so IDK how to describe 2) If you buy it with the right kind of warranty you can smash it and believe it or not they will fix it. ( I know because:...) 3) THe *&^*&^* built-in mike(s) are JUTTING RIGHT OUT IN FRONT ON TOP OF IT, WAITING TO GET BROKEN BY THOSE OF US WHO ARE NOT TOO BRITE. That would be me. I'm now waiting for the repair guys to send it back and then I'm designing an "idiot barrier" to protect the mikes. Everyone rails against the built-in mikes, but they're stereo, if you set audio levels to AUTO they work without further thought, they capture stereo ambiance, and they're THERE.

Hello; I just bought a Bell and Howell Filmo 16mm ; 400' mags, electric motor. I guess I have to buy film now if it works. 1) anyone know where to get the camera inspected/Serviced? I'm really at the bottom of the low budget range, and am planning on doing only acquisition in film, and then getting processed film scanned to HD or miniDV, working in digital realm and pretty much staying there. I called a recan place in NY, and to his credit he wouldn't sell me something until I had asked Someone Who Knew ( That would be youse) what kind I needed. 2) So the 2nd question is, for getting to digital realm as soon as possible, do reversal and negative require the same number of steps? In other words can I just take the processed, developed film and send it to get scanned to digital media for both these types? I'm hoping to to get sharpest daylight footage possible, panoramic scenery etc, so I'm thinking of getting some slow daylight film, suggeestions welcome. Thanks a lot.