Rik Andino

No it's not that interesting... Ir's just another stupid video camera being made And marketed to the indie (read low budget) film community Which may or maynot be worth its asking price... Which may or maynot be embrace by targeted market... Which may or maynot be revelant several years from now. The whole circus surrounding this camera is ridiculous almost to the extent of entertainment---but still ridiculous. And the crap coming out from these so-call red fanatics is even more ridiculous! This whole lunatic debate is polluting this forum And many of the average folks are getting tired of it. It's come to the point where you can't go into the HD forum... because all they talk about is RED. There are more threads about RED than any other camera Including existing HD cameras like the F900, the Varicam, or the Genesis Which are used by serious pros in serious productions. So interesting you call it--but ludicrous says I.

Wow 10k for a zoom lens You might be better off buying a used set of S3 prime lens for that price. Or you can do what film shooters have always done Rent the lenses when they need them.

Maybe you should invest those 25k in a film school education. Well at least buy some books before you buy anything else. You need to get lots of information before you consider yourself a filmmaker Or you might just wind up badly investing your money. So the first thing you should do is read up all you can about filmmaking This site has a great list of good (probably required) reading for filmmakers. What kinda computer do you have now? Use that to learn how to edit. You can use Premiere or Sony Vegas on a PC and iMovie or FCP on a Mac Do you have a video camera any video camera will do... Get a cheap camera with firewire inputs (aka 1394 inputs) Shoot random scenes and learn how to compose And then you can edit them in your computer. Get an SLR camera or better yet a Hasselblad or Mayima I hear they're cheap now... Learn how to shoot stills and how to handle negative film Learn how to compose a shot...these are necessary skills for a filmmaker. After a few months you can also try to work on a few small productions in your area... Just to see how real productions functions and what professionals do and use. This is possibly the cheapest way to learn how to become a filmmaker. Once you've done this for a year or better a couple of years Than you can seriously begin to consider where to invest your money for your film. Becoming a filmmaker isn't easy and it takes years there's no simple answer... You must be dedicated to the cause...because it canl be tough to stay this industry. Good Luck PS A DoP or DP (as we say in America :) ) is an acronym meaning Director of Photography which is another term for the cinematographer.

You can get the Cameraman's Handbook for like $30 It'll teach you with detailed illustrations how to load an Aaton. http://www.amazon.com/Professional-Cameram...TF8&s=books That's how I learned how to load an Aaton... I also have help from an AC who was in need of a loader. :) But the book taught me all the points quickly and was good reference. The cameraman's handbook is very useful it'll teach lots of things about your Aaton And other cameras, and just general camera stuff good to know when shooting. You should also get the ASC manual another helpful tome. There are tons of camera books out there Check the list of recommended reading in this site it'll help you. Good Luck

You're just dealing with a bunch of delusional hobbists Who have little understanding how a professional production runs. If you've ever shot or seen 35mm or even well composed S16 You would stop trying to compare S8 to these better formats. Hell even well shot HD is better than S8 (yeah I said it... :P ). S8 is a good format to learn and is very good for specific effects (the S8 look) But when you put it through a serious production workflow it falls short. So please let's be realistic here no Primetime TV drama is going to use S8 as a cost saving tool. Stop making yourself look like a fool by suggesting these ludicrous scenarios. I don't want to offend you Alessandro but sometimes people just might need someone to smack some sense to them.

A used Zeiss superspeed could run you 5K per lens... You may want to have at least four to use so add that up...it'll be Whatever this camera will be when it debuts... It will not be cheap enough for those indie dreamers and amateurs Who think they can shoot a feature for under 10k. No one has been even talking about the post production workflow... Or the fact that it'll might take a serious DIT to set up the camera. Well whatever some people need to learn the hard way. Good Luck

These Red forums are getting worse than those nerds on the Star Wars forum. There are more post and threads about the Red camera than any other HD camera in this forum. & that includes actual existing pro HD cameras like the Cinealta and the Genesis... Is it just me or is this ridiculous. Well both types of net geeks (the Red geeks and the SW geeks) have one thing in common. They are fighting over imaginary universes. :D Let hope the Red delivers as much as it hype.

It's definitely been keyed off a greenscreen... And that is the simplest and easiest way to do this for a video... Nowadays most vids have tons of post effects and greenscreen work.

You can use either one... The Beach-Tech adapter will obviously offer better quality... & it'll not have as many problems as the stereo-mini to XLR cable... But both should work fine provided you treat them well. Good Luck

I'm an Aaton man myself... And I have to agree that the Aaton is the better choice. However I would search for a newer Aaton if you can afford it. Something closer to an LTR-54 is easier to maintain than an older LTR. You should also see if you can get it checked and evaluated by a tech before you buy... You don't want to have a camera that'll needs tons of work before you can use it. Good Luck

Well I can say don't spend 20+ grand to just learn how to be a filmmaker... That's kinda stupid, ain't it...? (I know cause I sorta did it.) Go to college to get an education or if you need a degree... If you don't need either just going to filmschool isn't going to be as useful as it seems. I can promise you that when you come out of film school You will be no where close to industry standards... You'll just have a little bit of knowledge on how the process work. Every professional has learned most of their skills on the job... Filmschool was just a good foundation...but by no means a necessity. First thing you gotta realize that in a film set there are different jobs and specialties You can't expect learn everything because there's too much and there's no need for that. Pick the specific job you want to do and focus on that. You said you want to be a writer/director Well then the only way to become one is to do it... Take writing classes to help your writing skills Study some acting and take a few course on directing to help you work with actors... Study a little bit of cinematography to learn about composition... But most important practice directing by directing films. Also it behooves you to learn to colloborate with others... Find a student cinematographer you can work with... You guys can develop together because film requires lots of colloboration It's best when director learns how to properly communicate with other crew members... That way they can accomplish more. Filmschool is good but often not necessary And then go there expecting miracles... Becoming a good filmmaker takes dozens of years of practice. Filmschool may be a good place to start But the best thing to do is to practice the craft. Good Luck

They are all different forms of diffusion. Some are more intense when diffusing light & some are lighter... I think Silk and Grid Cloth are both pretty strong forms of difussion. You'll have to check them both out to see which one you like best. Normally most cinematographers I work with They just see how much light the diffusion is cutting off or how much light it's spreading out... And they decide from that whether they want to use it or not. Well Good Luck

You might find a cheaper tap... Check A Z spectrum... I know some folks aren't too keen on their taps... But they supposedly work and aren't a thru-the-eye-peice tap http://hometown.aol.com/azspectrum/ http://members.aol.com/azspectrum/ltrvid_c.html You could also find one of those old Aaton tube taps really cheap on ebay... You can get them for several hundred dollars (maybe even less...) They look just as good as any thru-the-eye-peice tap but they're not.... Eitherways Good Luck

What are you working on commission? Or are you really Steve Jobs relative hoping for a piece of the apple pie? :D

I think your idea confused everyone else because they're talking about FPS... You're talking about using the lens system of a still camera and connecting it to a laptop So you can use your laptop as the recording device. How are you going to connect the still camera to your lap-top? If it's not a Digital Still camera, it'll can be near-impossible. If you have a digital still camera then you might accomplish something interesting. Still it'll be cumbersome and capturing the footage will be very time consuming... As well as figuring out a decent workflow and storage process.... And you'll probably be able to do it better some other way. Nevertheless you should try the experiment... Because it's that creative spirit of inventiveness that can someday payoff When you discover something truly unique and interesting and worthwhile. Good Luck

You obviously aren't familiar with many of Richard's past posting... It's just become a pathetic circular argument after awhile Very vaudvillian if you ask me, makes for great laughs. Anyways about getting into USC, like others have said It's very difficult but possible, it's very good but very expensive...you know... My advice is don't go to an expensive undergraduate school. It's a waste of money. However you are better off being in a big metropolis--NY & LA being the best places to study film. Check out the LA City College Or NYC own City College. Personally I went to Brooklyn College. They all have very decent film programs And are fairly inexpensive and easy to get into... & you'll be in a great city to study filmmaking. And if you do want to continue with your film career You're able to apply for NYU or USC grad To continue your education in the big fancy expensive college. Anyways that's my advice do whatever you feel is best for you. Who knows in three years you may decide you want to be a financial consultant...? In any case lemme know I might just need a financial consultant in a few years. :) Good Luck

Here Here! Movies funding should be gotten the hard way With alot of begging, brownnosing, sex, ass-kissing, lying, and a lot of song&dance Keep things the way they have always been. & if you can't hack it stay out of the movie business.

You're gonna have to get the proper size screw... Usually the bogen head comes with two screws one for DV cameras (the 1/4-20) And then one for bigger cameras 16mm, Betacams, HDcams, etc... (3/8-16) Search around your friends camera knicknacks the screw might be there. As for the 501 head...it's okay handling the LTR but not great... Sooner or later you'll want to get a beefyier head to do smoother moves with... fu** it just rent the Fisher 11 and always keep the camera built up on it with an O'Connor head. It just a few hundred dollars a day. :) Regardless Good Luck

Both cameras are at the low-end of the 16mm pole... But if you ask me you have to figure what you're using it for... A Kinor is closer to a professional 16mm camera such as the Arri SR or Aaton However it's reliability is questionable... And it usually requires some shop-work before it can be adapted for your needs But once you've got it checked & adapted by a good tech... I'm sure it's decent enough for a serious production... Althought by no means better than an Arri or Aaton--but for low budget work... :) While the Bolex (very good for what it is) is more of a student & amatuer camera. It is very reliable and has some pretty nifty feature and it's a cool camera to learn on But if you're doing a serious production fugeddabout it. However I like the Bolex it was the first 16mm camera I ever worked with. If you have to choose between these two cameras--just get an Aaton :lol: Seriously just think about what you'll be doing with it And then pick the camera that will best help you accomplish your goals. Good Luck

Umm about twice the size... :rolleyes: Just experiment with both format you'll see alot of differences As well as alot of similarities. Good Luck

Thanks for the idea... Next time I'm on set I'll grab a few of the biggest grips... And watch for the small AC sticking her/his head into the changing tent & BANG! Grip & Electrics vs the Camera Dept. :lol: (Let's see who wins.)

What is this...? I'm frustrated at George Lucas because the new Star Wars Trilogy is not my liking... And I'm angry so I'll post on an internet thread to bash him? How old are you? Tim you usually seem like an intelligent guy... But sometimes you just come up with really pathetic threads to post.

Tomas, I have an high LTR-54 serial number c1242 Actually they call it an LTR-X cause it's got the same XTR motor...they say... I thought that the LTR-7 could go as low as 6fps... But if you get a speed controller I'm sure you can take it down that far. And I'm trying to do it this Wed... Provided I don't have work...I just might send Roy over with it instead... See ya

Try the Pelican 1600 series cases... The 1600 is the smallest... Just be aware it's a big case but not that big If you've got a couple of things you might have to really pack poop in there. Good Luck

Number 1 The LTR7 speed range is from 6fps to 32 Yes it is crystal synch in three modes 24fps, 25fps, and 30fps If you get a Speed Controller you can shoot it lower than 6fps, but not higher than 32fps. Number 2 You want to get an adapter that is well calibritated... You can check it at your local camera rental... Eventually you might want to change the mount to a PL mount too... Aaton mount lenses are rare (even though an Aaton mount is a good, sturdy and versatile mount.) Number 3 Not really... You should talk to the service center however They will tell you everything that's up with this camera and ect... However 3 years is a long time the camera may need a check up. Number 4 Well the biggest is that's it is an old camera and parts are rare... Because of this it's expensive to service this camera. The other big sticking point is that you can't do any overcranking with this camera So no slow motion shots at all. Anyways Good Luck