Jeff Wright

Thanks Brian, I work in the really strange niche of action snow sports. I'm constantly having to take the camera in and out of my pack. Screw on filters are pretty handy for this as they tend to not get dust and moisture inside. Basically just one surface (outermost) to clean instead of multiple (interior) ones. Space is seriously limited as I use an avalanche airbag pack on most jobs and larger roomier ones are not yet made.

Hey guys, I think I have a s16 zeiss 12-120 zoom on the way soon. I mainly work super run and gun and will do pretty much anything to avoid using a matte box. I believe the outer diameter of the lens is a standard 80mm so I'm sure I could use a snap on shade with round filters. Ideally though, I'd love to use normal screw on filters. I've been having a hard time finding out if these lenses have threads. Does anyone know if they do and what size they are?

I would use the "B" video camera. I work for a production company that always uses non sync 16mm (mostly Arri 16s'). If we are trying to get audio we have someone rolling mini DV. If we are really thinking ahead we will shoot a clapstick with the 16 and the digi. In post I would keep both your DV track with audio in your timeline with your super 8 track. I would turn down the opacity to about 50 percent. So your looking at both videos stacked on top of each other. I'd lineup the beginning of your shot and depending if it does drift I'd probably turn on the time remapping and keyframe different points in the super 8 track that are easily identifiable and shrink or stretch the Super 8 layer to match the B-video and in turn match it to the audio track. If it still doesn't line up you might need to use several keyframes at various points in the video. Obviously you delete or turn off the B video and you should be left with synced audio.