Stephen Hargreaves

If you're talking about the stock Meteor 17mm-69mm lens (sounds like you are), then no that is not a bayonet mount, it's the M42 × 1 mm mount.

Hi Curtis, I was curious, were those stills conversions from negative? And if so how did you adapt the scanner to work with 16? Is it just a flatbed and you cut up your neg? I'm very interested in this, because it is a very low cost option, but I cannot cut up my film, because I'm delivering in both digital and film. Thanks!

Just some updates on my experiences with the DIY telecine: I had some successful results using an optical printer rig originally used for film projection to bolex, and this rig has pin registration, so shake in frame wasn't a problem. I found that the amount of filtration that worked for the majority of stocks tested to eliminate the orange masking was 2 1/4 Full CTB conversion. It still needed some pulling around with curves and the channel mixer in photoshop though. I shot raw with a digital rebel XT, 100 ISO at 1/400, and the results seemed to be best around there, I took the lens off of the camera, and used the lens with a bellows that was used for the bolex camera rig on the optical printer, thus, basically projected the image onto the sensor. I am going to have to do a ton of color correction to get all the colors where I'd like them to be, but with all the time in the world, and absolutely no budget, this seems attainable. Does anyone have any suggestions, about shooting specs, IE white balance, ISO or shutter speed? Any ideas would be useful. I plan to post my results soon.

Great, Thanks for the post workflow information Phil! Steve

Great, Thanks for all the information so far. I'm going to play around with the scanner tomorrow, and see what results I can get, and I will take the advice of shooting with a heavy blue filter, see how that turns out. Any ideas about the post workflow for combining the multiple frame files into single video clips? Thanks for everything, I'll keep my process posted! Steve

Hi, I'm a student and I'm preparing to shoot a short that has been decided will shoot on 16mm. The film consists of a variety of scenes ranging from early morning interior, to late night exteriors. I have shot 16 before, but definitely didn't have much quite the same appreciation and care about the pieces as I now do for this piece. I have seen comparisons between Fuji and Kodak stocks of the same balance and speed, and have to say that I do prefer the look of Kodak, but I am open to any options, especially with regards to pricing, because this is a very low budget production. I have access to some smaller amounts of short ends of Kodak stock, and I have a couple of cans of Fuji 250T Externa stock kicking around. We are shooting about a 50/50 split of interior, and exterior. Shooting both interior and exterior mornings, afternoons, evenings and nights. I would love some feedback from the gurus here about getting the best bang for my buck! Thanks for you help, Stephen

Hi, I'm working on a film in which we're shooting s16, and then we are planning to edit digitally. The only problem is we don't have money for an HD telecine, and I've investigated other routes, and I've come to the conclusion of doing it myself. The budget is micro, almost none, so I'm looking for the cheapest, yet highest quality result. Time is really no matter, I can dedicate as much as needed. I have access to an optical printer, and what I was planning on was using the projector, but then instead of capturing the image using another film camera, using my Canon Digital Rebel XT SLR instead. I have heard of this (and scene some results), and the idea was that you could take off the lens and simply project the image directly onto the camera's image plane (in this case, the CMOS sensor). I have a few questions regarding this: 1. Can I use the negative and then invert it in Photoshop later? I have heard from one of my instructors that this wouldn't work that well, because it would leave an orange looking mask or wash to the resulting image. But could that be corrected? Or would I have to opt for a work print? 2. What would be the best workflow for converting these stills into workable video footage for use in Avid or FCP. Would it be best to merely bring in all the stills at a 1 frame duration, then compile and export the sequence as a clip? And if so, what would be the format I would go with? Let's say in FCP I would want to work with something high res, like Apple Pro Res, good idea or not? Thanks for you help! Stephen

Hi, I'm shooting a short film that has a scene where a guy is talking to another person who is up in a window. The guy is on the ground, and the person he is talking to is a story up. I know this has been done endlessly in movies, but I can't seem to recall any (ha, well beyond 'Say Anything,' that is). So I'm just wondering if anyone can remember any classic beautiful scenes from movies that resemble what I'm looking for. Thanks!

Hi, My name is Stephen Hargreaves and I'm an aspiring cinematographer in the GTA in Ontario, Canada. I go to school, studying film and I am pursuing all camera and lighting routes possible, not to mention my independent learning from working on the films we create in the program. The problem is that I am finding the education offered from my institution (or almost any other, for that matter) is lacking, or perhaps not as in-depth as I am hoping it would be. I have tried to create opportunities through CSC and a few cinematographers I have met in the area, but so far, I have come up empty. I'm wondering, with this forum's wealth of knowledge, if there are any opportunities for someone like myself. Ideally I would love to have a mentor, or just another source in which to learn from. Education is really all that I am after. Thank you!