Jordan Brade

I'm going to bump this and get it up there one more time. If no one responds, I'll see if I can try some thing else.

I looked at the Panasonic AG-LA7200G Anamorphic Adapter for DVX, it's a 1.3/1.5 (I think) Squeeze, it would be great for creating (about 2.40) on a Super-16 negative. Incidentally it has a 72mm rear, thread or clamp I have no clue.

 

I think the one you posted from 16x9 inc is just Telephoto Adapter. :-).

Oops. I should probably start reading the descriptions better.

I'm pretty sure that the Panasonic adaptor goes on similarly to its lense hood.

There are some anamorphic adaptors for video lenses, and I know that one company has one with a 72mm thread.

When I got my Eclair NPR, it came with an Angenieux 12-120mm zoom. I'm not at home right now, and I can't remember, but I'm pretty sure the thread on the lense is 72mm.

Assuming my memory isn't crapping out on me, and of course compensating for a huge chunk of extra glass, would I be able to use this adaptor? It seems like a possible solution, but I'm wondering if it would affect the lense at all.

The description of the adaptor also mentions vignetting, but that doesn't seem like it would be too much of an issue unless I did a zoom from 12-120 in one shot.

Here's a link:

Anamorphic adaptor

Ebay auction for Eclair NPR manual

Anyone have this version of the manual? I've looked all over the internet for a pdf file of this, but I can only find the one that's 28 pages. This one has atleast 54 pages, plus the wiring diagrams and photos in the back.

If somebody has it, would it be possible to get a scan or pdf version? Or even just scan the pages with the photos and wiring diagrams?

Any help would be greatly appreciated!

If something broke I would be out of luck?

Unfortunately, that would pretty much be the case with any of the cameras in your price range.

I've had my Eclair NPR that I got off of ebay for awhile, and while running a dummy load (this was my first time using the camera) I found out that either the magazines or some part of the camera body scratches the emulsion. I'm going to send it off to Bernie of Super16 Inc. to get an estimate, but he told me over the phone that the cheapest he'd be able to fix the magazines for would be $100-150 a piece. Assuming the problem is with the magazines and it's not the result of a messed up, hard to find part. Keep in mind, I don't know the last time the camera's been serviced, so it probably needs to be serviced really badly.

I agree with Jon-Hebert Barto and save your money. You'll need to get it looked at (since you're probably going to get one from ebay at 2k), you'll need to get filmstock, and you'll need to have access to a plethora of other types of equipment.

I also suggest, as far as the camera goes, getting an Eclair NPR. It'll run a little cheaper than the BL and doesn't need blimped lenses.

I just recieved two 100' rolls of film off of ebay, and I'm using one as a dummy load to help me practice loading the magazine of my Eclair NPR (also from ebay). This is the first time I've ran film in it since I've bought it.

Any ways, When I looked at the emulsion of the dummy load after running it through the camera, I found tiny scratches that just barely catch the light. I switched my magazine and loaded the camera with the other magazine, and I got the same result. Are really thin scratches normal? Would I be able to make one short film before I have to send it in?

Also, who offers the best service with the eclair and offers the best pricing?

Thank you for your time!

Wow, I don't think too many people can handle a joke. <_<

Truth be told, this is a pretty interesting time to be living in. Castro's been in power for a long time, and his death could possibly mean something entirely different for the people of Cuba.

The picture doesn't look fake to me, but then again I'm not an expert.

I personally can't wait to Castro kicks the bucket. The fall of two communist countries happening in my short 18 years of existence, plus the fact that the people of Cuba will be free of Castro's rule.

Also, I can't wait till I can get Cuban cigars legally :)

Yeah, and I storyboard because I love to draw and I'm passionate about my movies, but what goes onto the boards is never in stone, and adjustments are always made on set anyway. I think the director should have the final say on angles, and the DP should have the freedom to find what works, allowing him to make use of the creativity that probably got him the job in the first place.

Agreed.

True in a sense, but pick up the book "Directing Actors" and read it cover-to-cover. If your number one opinion as to what a director does is decide camera angles, you may be putting too much focus on the visual elements of directing, either because you don't have actors to work with, or you're trying to avoid working with actors. Soon you'll have to surrender more and more to the DP just so you can spend time working with the performance. I still DP my own stuff just because I don't have a DP I can trust. But I've been realising, especially with 16mm, how much it takes to try to do both.

It does take a lot of effort to think about that stuff, but I've been getting into the habit of storyboarding so then I can attempt to concentrate on angle and composition and on the performance of the actors. Cinematographers do usually get the final say on angles though : )

Keep in mind that a lot of (good) directors storyboard, if not then they explain the shots to a storyboard artist.

AFAIK, the 35mm optical sound negative (usually contains the stereo analog track, Dolby Digital, Sony SDDS and DTS tracks) is often considered a key preservation element. Today, these silver-image negatives are usually recorded on polyester stock, so the long term keeping characteristics should be very good. Unless stored properly, magnetic media may show significant degradation within a few decades -- full coat magnetic film and tape from the 1960's and 1970's has been problematic for "vinegar syndrome" and "sticky-shed" if stored improperly.

How would one go about storing magnetic media properly?

Nevermind, I found the answer.

The answer is that I am very blind!

Turns out none of my mics have a stereo plug. They all have mono plugs.

Ive always liked the conductor analogy in that there is such a level of experience in the combined HOD/talent of any film but that it takes a very special kind of person to mix the strengths of these individuals, to meld them into a defined direction and to produce something greater than the sum of their parts.

I love that analogy :)

While I'm a total n00b when it comes to cinematography, I like to think that I know a bit about directing.

I've made a few shorts and have researched the topic of directing for awhile. I wish to be a writer/director in the near future.

A lot of people make the mistake that shot composition and angles are a cinematographer's job. While it's their job to capture those angles and make the composition work on camera, the director has the creative investment in that portion of the film world.

The director is essentially handed a story. His job is to find the best way to tell it.

Each scene in the story have to get a point across, and in order for that to happen each individual shot has to have a purpose in the scene. Every motion, every item, and every angle has a purpose in the story.

I just bought a TCD-D7 DAT Recorder off of ebay so I could use it in a short film I'll be making (I'm eventually going to find something better to record sound with, I just need this for one short) and when I started to test it out everthing sounded pretty good except that instead of recording in stereo it was only recording the "left side"-I could only hear the sound from the left side of my headphones amd their were no decible readings for the right side.

I tested this with several cheapy mics as well as my Schriber Acoustic Dual-mode shotgun mic (I plugged it directly into the recorder's mic input). I also tested it with several sets of headphones to make sure that I just didn't have a bad pair on. Any idea what the problem might be?

I thought that maybe because I didn't plug the mic into a sound mixing board, that that might be the problem, but no information website has mentioned anything like this so I don't know.

Any help would be greatly appreciated!

There's some confusion over that. The XL2 actually has a 4x3 3CCD set-up, but it pulls a smaller 4x3 image from the center of the 4x3 sensor area, not using a border area on all sides. Then when it is in 16x9 mode, it uses the full width of the sensor but less of the height.

 

The Sony PDX10 had a similar design.

 

The end result is that the 4x3 and 16x9 modes use about the same total number of pixels to create their images, so there is no loss of quality when switching into 16x9 mode. But that's not the same thing as saying it has a 16x9 native CCD.

Oops. My bad. Thank you for catching me on this mistake.

I've worked with both before. There both very awesome cameras.

The DVX-100 has amazing captures colors amazingly! The gamma, as said before is also very beautiful. I, like many other people found the design very "comfortable" in regards to button placement. I feel it looks a little more "cinematic" than the XL2 at times.

However, the XL2 has a native widescreen 3CCD sensor. The Panasonic can go widescreen, but you lose a bit of quality unless you use the widescreen adapter lense, which will cost you around $700. With the XL2 you also have the interchangeable lense system, so you can use many different lenses instead of being stuck with a fixed zoom lense. They shot even 28 Days Later using an XL1 with Panavision lenses! Quite frankly though, if you're on a strict budget you're probably not going to be renting Panavision lenses anytime soon.

Quite frankly, either will do you just dandy.

I've been looking on ebay for awhile to find some film, but most of the time people have whole lots of film for a lot more money than I'm willing to spend on something that's just going to be a dummy load.

I also asked the guy that handles the student film projects at Fuji (I'm ordering film for my project from them), and he says he doesn't have anymore dummy loads lying around.

There is one auction that I'm looking at on ebay. I just wanted to come here first to see if I could get a dummy load for free or for the price of shipping.

I'm located in Phoenix, Arizona.

I'm going to be starting a short film soon, the only problem is I've never shot on film before. I would like to practice loading the film in the camera magazine before I have to do it in a loading bag with stock I can't afford to waste.

So the question is, does anyone have any old 16mm film stock that's no good that I'd be able to use as a dummy load and practice loading my camera?

Great video, man! It was amazing!

Who did you go to to get your film developed and telecined? Also, what format did you telecine to?

i thought i'd add a bit to this

 

got this email this morning

it wasn't even the orginal seller that sent it :rolleyes:

About a year ago, I got the exact same "2nd Chance" offer. Coincidently, it was also for an Eclair NPR.

I own "Rebel Without a Crew" the that contains his diary entries from when he made "El Mariachi." He says that he ordered fresh stock from kodak, and recieved a few rolls every few days or so.

For all the interiors he said he used film rated at 320 ASA, and that's about all he mentions about the type of stock he used.

Hey, I'm new to film making and I am trying to break into it.  I don't have a lot of money... And I need to know what equipment to buy.... I have a budget of 1400 dollars... and I already have a kickin computer ready for editing. I need a shot gun mic, boom pole, lenses,a film camera, lighting.. specifically good yet cheap equipment. makes, models, prices that kind of stuff... Anything that would help me. I'm serious about film making and I need help. And if theirs anything else that I need for film making that I don't know about. Any help would be appreciated.Thanks

Jacob Groome

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I'm kind of in thew same boat as you, I've just paddled a little further.

I already own a camera (an Eclair NPR 16mm camera.) and I don't have enough money to buy film for it, and I don't have a DAT recorder to record sound. I do have a shot gun mike and a kickin' computer.

Take it from me, use some of that money and buy some filmmaking books and save the rest.

Jordan I find your theory about Liea & Luke similarities Ghanima & Leto interesting.

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It would've completely passed me by if I didn't read somewhere that Frank Herbert was utterly pissed after seeing Star Wars. I believe he even formed an organization along the lines of "SF writers against Star Wars." Truth be told though, every SF writer is guilty of plagerism in some form.

Jim, I'll need to watch Episode I again. I think you got me there.

Rik, everyone knows that Kit Fisto's ethnicity is Greensquidorian :P