Jason Hinkle RIP

There's so many cameras with AV in that you probably can set more criteria like the price, size, HD, etc. Google search for "Camcorder with AV in" turns up quite a lot of recommendations.

one more vote for chicago.

i'm curious, what equipment is used to re-spool film?

If it's on daylight spools you can give it a look without the changing bag.

You might also see this video for checking the timing: http://eclair16.com/eclair-acl/how-to-vide...eck-the-timing/

I think these feelings apply to any profession. Only an extremely egotistical or stupid person can be totally un-phased by negative criticism. That being said, it is impossible for a person with any intelligence to have a thick skin if they don't feel confident in their abilities. If you were 100% confident, you wouldn't be asking this question here. The only way to build confidence is by doing the work until you can do it in your sleep. Just keep working. If you are putting yourself into pressure situations that you don't feel comfortable - work on more small projects until your confidence is up. Pretty soon you will be hungry for the pressure.

I'm sorry I can't help you with that specific camera but I'm looking forward to seeing your footage! I can share this with you if it is at all helpful - - I chatted with the director of this video a while back and he told me they shot at 3,000fps with 30k watts of light. There's various slo-mo shots of balloons exploding throughout the video. I don't know how helpful that may be but perhaps could give you some relative numbers to help get the look you want.

i'm curious about this too, i heard somewhere (can't remember where) that it is not really advisable to use that filter holder because it can slip out of place and get wedged into the moving parts, possibly causing damage to the camera. i've also heard things like a little smudge or something would be amplified there at that level. these are just things i've "heard" i would be interested to know if they are myths or not?

i put up a video for loading film that has some tricks taught to me by bernie and others here - http://eclair16.com/eclair-acl/how-to-videos/loading-film/ - sorry for my lack of professional terminology but hopefully it will help somebody. i know when i started i was really nervous about ruining my costly film or breaking the camera, etc, and it took a few wasted rolls before i figured out how to get consistent results. if the camera starts making a loud noise in the middle of a roll, you can take off the mag re-center the loop by just sliding your finger back and forth against the pressure plate, putting the mag back on and inching the motor to let the film "snap" back into place. sometimes you will hear it click into place. i also had some film come out like this when the timing was messed up on my camera, but if that were the case then all of your footage would have been messed up.

In case any of you are eBay junkies like myself, I put up a new page on the eclair16.com site that pulls just about everything "eclair" http://eclair16.com/equipment-for-sale/ i think i have a pretty decent filter on there so it pulls out everything you'd want to see and doesn't grab all the manuals, c-mount adapters, etc that are always listed. For some reason i can't get it working in IE just yet - it works in every other browser. If you use IE you can still get the results but you just have to click the header and go straight to ebay. (fyi, i'm not trying to pimp any auctions - i don't have anything for sale!)

wow, thanks for sharing - it's amazing how the wide frame really gives even test footage a much more cinematic quality. i've been curious about ultra-16, but a little fearful about having limited developing and transfer options.

i've shot about 3000 feet of vision 3 500T on my ACL - three different occasions with no problems. I used a 400' french mag, a 200' french mag and one of the funky 200' french mags w/ the different gearing. no problems on any of them. I ran a couple hundred feet through an english 400' mag & the take-up spool would never wind right with too much slack, however I can never get the english mags to work with any stock! i've only got a about a year experience with film so take my advice for what it's worth, but I had no problems. hope that is helpful.

wow, great camera report notes! it's very interesting to me, I'm trying to learn everything I can about lighting. The lights in your shot looked very natural. thanks for posting your info.

those look really good, my SD transfers look similar to yours, makes me want to go back and get them transferred in HD! the prices are ridiculous around here too though. I didn't quite understand if you said your lab was scanning these or you bought your own scanner? just curious what you were using.

ah yes you're right - google turned up a couple of pictures that match. thanks!

nice work! the look of the film and the music really does give it a new wave feel. the lighting looks very natural too. can i ask what was your light meter reading and what stop you were shooting at?

Thanks! The slo-mo were all at 75fps with the lens open one extra stop.

Does anybody know what this piece is? It looks like a part from a follow-focus, but there is a dampener gear on it. The gear seems that it would connect with either the zoom or focus ring. The tension on the gear is adjusted by tightening/loosening the white knob. There's no markings of any kind anywhere on the thing. Any info would be appreciated. Thanks!

thanks lee, i'll look forward to seeing some footage from your acl!

The prices of a lot of film gear is really bottoming out these days. Obviously new technology is taking over, but regardless film still looks just as good as it always has. It's a good time to get a great deal. The only pieces really holding their value are lenses. Of course the whole economy is not exactly great so it could be that people are just unloading old stuff for extra cash too.

Ah, for some reason I thought you use both GBP and EU in the UK...? I guess I should know these things... The ACL is a great choice, of course me Borris and Nick here all have one :-) I watch them on eBay constantly. A fine looking ACL auction just ended with zero bids - starting bid was $999 US. So that would have been yours for about 700 pounds with plenty of budget to do a super 16 conversion straight away. Good luck!

You can easily fix your audio to deal with interlacing by doing what is called "expanding" the audio where you adjust the pitch of the audio by 100.01% I would assume if you have pulldown removal the reverse would be true, changing the pitch by 99.99%. I am sorry I don't know about your particular camera, but I do know about dealing with audio syncing. This is a standard practice in audio post when interlacing and pulldown are involved. It essentially slows down or speeds up the audio track exactly enough to deal with the difference in frames. The amount of pitch change is so slight that you cannot tell any difference at all.

Either an Eclair ACL or an Arri BL is probably the best option in your budget for sync sound film. There have been some great deals on eBay for ACLs lately, as low as $1,500 US (I think around $1,100 EU) with zoom lens. You can get the camera and start shooting regular 16mm and meanwhile save up for a super 16 conversion. As far as lenses, your entire budget is not really enough to get a professional set of prime lenses. But it's fairly cheap to rent them as needed.

Thanks - I used a Nikon 14mm for some of the shots, but I wound up using mostly my Angie 12-120 at 12mm because it was the widest lens I had to get the typical Wes Anderson look. I wish I had a slightly wider lens for that shoot, but I used what I had! Thanks Saul for the kind words!

Thanks so much, I pretty much agree with everything you said. It definitely is a unabashed rip-off for most of those shots, though there are a few originals in there too & they are all filled with our own little secret jokes by way of cheap prop substitutions and such. I feel like it was a helpful technical exercise for me, trying to copy a master. But now that I'm getting a little more confident with film I'm ready to shoot my own vision next time. I was very paranoid the whole time that I would somehow ruin the film or something, so I feel like my fear level will hopefully be lower next time and I can relax and focus more on the artistic part. Oh, one thing I definitely learned is not to choose a treatment with so many setups when you only have one day with the band. Also, to shoot the performance footage first thing in the day and do the plot elements afterward. By the time we got to the performance footage it was hour 15 and did that all in 3 hours. I was lucky that the band was so eager to work hard and still had any energy after a tough day.