Rik Andino

I don't know how they could do that (but I'm sure they can... :rolleyes: ) Because these two cameras are pretty much similar... They perform the same functions, they have the same mount & accept the same lenses And offer the same interchangleable features... the only difference is really for the loader...and when you're going handheld. Sometimes there a price difference and that's how most (sane) people base their choice. As opposed to the difference between Mas and PC... Which is just so much broader... Both cameras are just really good and neither of them will hinder your work (which is important.) So get the one you'll recieve the better deal with...like a free remote FF or an extra prime lenses...etc... Good Luck Awright! Now we synch all our studio footage with the latest Tool songs And the maybe shoot a few cutaways to the soulful sounds of Barry White. And make does camera test much snappier with some Jay-Z in the background. :D

You're right--I don't know if they make a 5Kw HMI... There are 4Kw and 6Kw HMIs but I've never worked with a 5Kw HMI... Hmm someone could enlighten us please...? Eitherways if there is a 5kw HMI I'm sure it would look like a 6kw HMI... Which looks like a 1200 HMI only bigger...

The easiest way is to have a big difussed source point at the actors face from a distance. There are many many other ways..you're going to have to practice on your own to learn... Good Luck

Yes you can shoot at regular 24fps or 25fps on an Arrin SR HiSpeed Cam. Good Luck

I think it's only a minute for a page of dialogue... But I'm not so sure...

CSC sells parts for Aaton? That's odd for a company that is owned by Arri.

I only been up in a Chopper once...and I was ACing... I didn't operate so I don't know how good my advice will be... If you're shooting handheld...get an handheld LCD monitor... It's easier to shoot from the hip Than having the camera mounted on your shoulder and seeing everything... The Chopper we were on didn't let us open the doors So we had to shoot through the windows...& the footage was nice but restricted...but it was safer. If you're shooting out a window get a harness that will secure you safely. Also it helps to practice your motions before take-off and find the most comfortable position. Like most people say dicuss everything with the pilot Make sure there is a standard of communication...it help alot... And obey your pilot, he's in charge and knows what's best. Good Luck

That's the JVC H100 I've worked on two shows that shot with these... The footage on the monitor was pretty impressive. From what I hear you can put on an adapter that allows you to use 2/3" lenses That means you can get really good glass for these cameras... Depending on how much you're willing to spend. SInce you mentioned you might want to shoot from a distance I suggest you search for a zoom lens that's a bit on the long side. Good Luck

Actually that's a very common term here in the East Coast... I figure they use it out West also in 'Hollywood'... kinda interesting doncha think I don't know it's etymology...but I figure it orignates some where in Hollywood. :)

Well film would be nice to use...but you're right it can be too cumbersome. Try one of the new HDV cameras... They're fairly lightweight...compared to more professional HD cameras And the resolution can be really high good for when doing does Extreme CU. I think the Canon H1 would be very good because of two reasons... It's got a really good zoom lens especially on the long size Which can be swapped if necessary (you can even use Canon still lens with an adapter... Which is good if you're using a canon still camera) And it's got pretty high resolution Which is very useful if you need to blow up the picture to get a better CU. Eitherways you should research several cameras... And actually try them out to get a feel for what you want to do. Good Luck

You're probably right... But for the near future both formats will be very relevant. For the next 20 years at least film will be as popular as digital cinematography. So it behooves you to know how to be compentent in both formats. But besides that it's also important to study both... Because the future of digital cameras lies with film. More and more digital cameras are being designed from film cameras Cameras like the Genesis, the Viper, or the D20 and some other prototype cameras Are being built to resemble film cameras...they have similar ergonomics... They use film lenses & behave a bit like film...they have same film depth of field, ect... So if you're familiar with film cameras the crossover will not be so great. If you're looking to speacialize in only one format you might be seriously limiting yourself. Like John said a competent film program will teach you how to use both.

I know it's probably too late... But I have access to four C-stands you could've rented. If you needed more gear than that There a few people I know who might make themselves available... Most notably are Pole Cat Lighting Inc. (718) 932 - 5633 And you can check out http://www.lighting-rentals.com They're open 7 days a week. I know a few others but I'm not sure If they'd allow me to give out their info in a public internet forum. Good Luck

That's what I was thinking... I've done several vids with alot of slick effects... And we've never done a DI. Anyways people get the idea.

I second that on the Canon zooms they're very sharp... And the color rendition is good. My only qualm with them is that they're huge... They add at least 5 pounds to the camera outfit. I wonder if they're any good light-weight zooms for S16?

You didn't see the whole movie--the first one that is... If you've stood past the credit you'd seen it what happens... Go rent the First Pirates of the Caribbean... And see it until the end--that means past the credits... Then and only then you'll get it. That's why I don't walk out of a film until the screen goes blank.

Wow you really respect the public... I got a newsflash for you-- Me and you and everyone else are part of the public. With the internet and the media reaching out to the more places than ever before Many people are aware of alot of these small indie films... The problem is they can't go see them because usually they're only playing in NY or LA They sometimes play at a cinema in a major US city for a week or two... But usually the majority of the American movie going public isn't close any cinemas showing good indie films That's why many indie films don't do big box-office business. Meanwhile the Cineplexes play the big studio films for months... So a mediocre film with big studio backing can rake in millions.

They're pretty cool... Except you have to make sure they're really tight Sometime the knuckles can undo themselves They get banged or whater and you're frame can fall apart. & I don't know about their portabilty... You're still gonna need to carry around speed rail about 12' in size.

You're so right about this... I don't know why so many kids are in a hurry to grow up...? Missing the college years can be such a waste for many young people. It's a very crucial time to learn more about the world and life in general... Great time to experience and experiment with people of similar age... Heck some folks might even learn they don't like being filmmakers And find something else they're passionate about It happens all the time to many students. But some people just think they'll do themselves good by skipping the university Life's not just about getting to your destination faster, sometimes it's about the journey also And college is a wonderful journey to take and worth the effort. Just my two&half cents.

You got so many questions...not good, it confuses people... I'll try to answer a few of them... I don't know much about C-mount lenses haven't worked with them in years... But they're pretty solid so you don't have to worry about back-focus issues.. However you do have to make sure they're screwed in all the way. Again I don't know much about Super-8 cameras haven't worked with them in years... But I think the majority of S8 cams come with fixed lenses.. The ones that don't well most of them use C-mount lenses... So a C-mount is the most popular on S8 cams...(I think... :huh: ) By M I think you mean M42 mount, it's an old pentax screw mount, prior to their newer K-mount it's used in some of the K3 cameras that's why it's useful to filmmakers. A bayonet mount usually refers to an Arri Bayonet mount was pretty popular in 16mm lens It was originated in the 60's and was very popular until the PL mount was invented. Actually it's still a very popular mount on lenses since it's easy to adapt it to other mounts. A PL mount is the latest Arri mount created... It's very useful because it can be used for 35mm lenses and S16mm lenses It makes lenses very versatile and very useful---it's also a very sturdy mount. A Nikon mount is a mount for Nikon SLR Cameras You can adapt some film cameras to accept Nikon lenses although this isn't a very common thing. As for your answer about favorite mounts... Most people don't really have favorite mounts, they have favorite lenses... I like the Aaton Mount alot because it's very sturdy and easy to change lenses... Also it's a very adaptable mount, you can adapt it to take Nikon lenses, or B-mount lenses, etc... But the PL mount is more popular so if I want to use a lens it's most likely in a PL mount So I really should have my camera on a PL mount...you get what I mean... It's the lens that mostly matters not the mount. Good Luck

DVCPro HD is also very compressed... When you compare it to HDCam SR it's not that great Anyways at your price-range your best bet is to shoot with the latest camera. Of the three you should go with the JVC H100 since that's the latest one. Even if the lens is not as the best HD lens out there... It's still better than the SD images the XL2 and DVX100b provide. However if you must shoot with the XL2 of the DVX100b... Don't be discouraged they're still pretty good cameras. I've recently been producing a doc shot using the DVX100a and the XL2 And it looks pretty good on television set. It's amazing the amount of affordable quality tools available to filmmakers these days. Good Luck

I couldn't bear to watch that movie more than once To ever notice something like that. :D But it's a good call--you've got good eyes.

I Just did it recently... Had to mail some stuff we shot in Vegas back home to NYC... We used Fedex...it's was very good, they put stickers all over... It was got home sooner than we did and was safe. It's a bit costly at aprox $100 for 8 cans of 16mm But it was worth it... I figure if you use UPS you'll recieve the same treatment. Just make sure you explain to them what you're sending And make sure you see them putting on the stickers... Just to be on the safe so you know everything is cool. I also recommend getting insurance Put it on the value of the production cost--not just the film's cost... Just in case poop happens. People ship film all the time it's usually safe. Good Luck

However it can account for up to 25% of a Music Vid budget When you include camera package and processing and developing.

Ah the typical white-room Vid... Shot one of those this week--they're great because very easy to set up. But you better hope you got a damn good performance And equally useful a damn good editor. You should get a standard set of Zeiss SuperSpeeds... If you can afford them the Cooke S4's always look nice Also get a fisheye lens--it's always cool and very useful The Optex 4mm is a very cool lens As for other camera accessories... Well your AC will always remind you of the usual... Follow-Focus (with Remote control always cool) Video Tap (very necessary with Producers paying huge bucks) Matte Box with a full range of useful effect filters Get extra mags so you can move quicker speed is essential in Vids. Etc, etc... But besides all the cool toys for the camera One very necessary item always neglected on first-time vid shoots A Jib Arm...you want those cool swooping motions and crane shots. Especially when you're shooting in a studio...with bland art direction. Also get a dolly that and jib arm will make your shots very mobile and dynamic. If you could afford it add a Steadycam Opt onto the budget... But you could always just go handheld if you're running low on cash. Good Luck

Well if you can get the record label to okay the budget...go for it... At worst it'll be an interesting experience. However I must say 65mm is overkill. You will also find that it'll be harder to keep things in focus... You'll have to restrict your movements since the cameras are bigger... It probably will be hard to do handheld or Steadycam shots... Which are very necessary for vids. You're workflow will be much slower...not a good thing on vids... And the budget might drastically ballon--which the label might not like. The post-process could be long and expensive--also not a good thing... There are dozens of reasons why you shouldn't shoot 65mm... And the best one is that no-one else does it...(including feature films for theatrical release) Maybe the other productions know something about shooting 65mm. For vids I say that sometimes even 35mm is too much... I've shot a few vids on S16 and they look pretty amazing... It's not 35mm but on your standard SD TV sets it looks alright. And with the money saved on the budget we could get better locations And more equipment like cranes...more takes and more shots... So it's not always about the format there are other issues to consider. I recommend you shoot it in the standard 35mm And you'll still have a very good vid with less hassles. Heck you could just shoot 35mm and say to them it's 65mm--it could work. :) Well at least it's nice to know the Vids world still loves film. Good Luck