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Robert Capria

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About Robert Capria

  • Birthday 03/24/1970

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  • Occupation
    Other
  • Location
    NYC

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  • Website URL
    http://www.actualityfilms.com
  1. Hi Chris, It's probably worth the money. Where do you live? Hopefully it's a minor issue but I imagine it will be minimum $100 because they probably charge $50 an hour for servicing. I know that Du-All charges $50 (non-refundable) for assessing what is wrong with the camera. By the way, I shot a music video with my Nizo 6080 today. I used an .6 ND filter for for the first few hours (12pm to 2pm) and then changed that for a UV Filter. Most of shots were around F-5.6. I'm not worried about exposure as much as focus. I kept re-setting my viewfinder diopter all day (lining up a vertical object over 100 meters away). I was using the white dot setting on the lens which I believe is the manual focus marking. I was a little afraid to get to close to my subjects so I stayed about 5 or 6 feet away. I would zoom in and set sharp focus on their face and then zoom back all the way or most of the way to set a frame. I've shot with this camera once before an almost all of it came out in focus. However, the shots were all wide shots at distance of old forts, etc so I wasn't dealing with close ups. I hope I was going about it the right away because I'm a bit nervous that it might be out of focus or at least soft. Let me know what you think. I would appreciate it. Robert
  2. I have a Nizo 6080 and never had this happen. I'm not an expert on the camera but I know they are delicate. It might be tricky to take apart unless you are mechanically inclined and have the right miniature tools. If you've never had your camera serviced before and you are serious about filming in Super 8, it might be worth the $200-$300 to get it checked out and completely serviced. The Nizo 6080 is one of the best Super 8 cameras and is probably worth keeping in great shape so you can use it with confidence for years to come. Call Du-All Camera in NYC for pricing. There are other places as well out there. Bests, Robert
  3. Hi Paul, Nice work on your film. The staging and camerawork looks more mature than a lot of stuff I've seen on Super 8.I noticed Eddy Van De Putte's name in the credits. I'm familiar with his transfer work "AviSynth" scripting colorist work --- he's really good! Did he work on your film? How much does the digital satbilizing cost in post? The owner of Pro8mm said that they have to crop a part of the frame in order to do that -- if I remember corrrectly. If so, did you frame it so you could lose a little? I did test my Nizo 6080 a few times just to see it's working correctly but never made an auto/manual exposure test. There is a link on this page above if you want to see the stability of the image. I was shooting it on a monopod. I read that you lose about 1/2 stop of light to the viewfinder. I don't plan on using an external meter until some time later. I'll probably just use a grey card to take an automatic reading and then set it manually and add 1/2 stop of light. Hopefully, that should work. Bests, Robert
  4. Hi Jamie, Thanks for your insight. I went to a Pro8mm seminar tonight in NYC at the Millenium Workspace. The owner Phil Vigeant was there. He said that Super 8 isn't so good for shooting on a tripod since the transport of Super 8 through the gate shakes somewhat. However, some of the samples they showed us on higher end productions were using tripods and dollies. He said that hand held covers up some of this natural shake. I'm not completely sold on that because I would prefer well composed shots with some internal shake over hand held most of the time. Also, I was told by another filmmaker that I could zoom in on a grey card and use the auto-exposure and then turn on the manual and lock off the f-stop. Would you concur with this? Sorry about not responding to your comments on the B/W Nizo footage. I will go there now and put up a reply. Since I didn't get any comments other than yours, I didn't think anybody was looking. Bests, Robert
  5. Manual Exposure for Nizo 6080 I'm going to shoot a music video with my Nizo 6080 on Ektchroma 100D. The location will be on a baseball field between 2pm and 6pm. I have a UV Protection filter but no ND filters. I know that with Ektachrome 100D you flip the switch from Daylight to Tungsten to dismantle the built in warming filter. I've never used to the manual exposure on this camera but would like to try without screwing things up. I suppose I can take an automatic reading with the built in light meter and then change the camera to manual and lock it to that setting. Also, I plan to frame out large areas of sky in the shots unless it's a wide shot. Please let me know if I'm going about it the right way to get even better exposures manually than just using the automatic exposure. You can view something I shot on the same camera using just the automatic exposure, which I think it pretty good, but would like to do better. Nizo 6080 with B/W Plus X
  6. Hi Chris, Thanks for your insight. I know I have a series of tests to do to answer these questions. Robert
  7. Dear Forum, I'm going to start working on a music video using a miniature set using a lighting box with flourscent bulbs to use as a floor for a science fiction type setting. It will look similar to the rooms in space at the end of "2001: A Space Odyssey". There will be miniature furniture in the room as well. There will also be walls made out of white plastic. I plan on shooting a mixture of stop motion and footage in HD (1920x1080@20fps or 1220x 720p@30fps) Lighting: 2 x Lowell Tota lights (halogen bulbs) with umbrellas Camera Canon Rebel T1i Questions: -Since this is supposed to be some abstract dimension in space, should the lighting be "cool" or "warm"? I know I have to gel either the halogens or the flourscents. -It will probably be easier to gel the flourscent on the lighting box but shouldn't the look be better as "cool white light" -- in more of the Kubrick manner? -What is the color temperature of the sun as a light source in space? -Should I used both Tota lights (halogen") with umbrellas or should I shoot it as if one of those lights is the light source (the sun) from one side of the scene? -How can I best mix stills for stop motion and HD footage in terms of color temperature settings and matching? I probably have a bunch of other questions but I'll stop there for now. Thanks, Robert
  8. Thanks for the info. Seems like a good option so the camera can shoot 16:9 and 4:3 without permanent changes. I know the ultrawide is about $200 from some German company and other places. I've heard that about DIY gate widening or paying some place like DU-ALL a few hundred bucks to make the change more expertly. I've never shot with a wide angle lens in Super 8. Is it good to avoid close up because of some distortion? I guess it might help make for a little less shakey shots with hand held or on a stabilzer applying the same principle of 16mm cameras. I've looked into stabilizers for Super 8 but is seems like it would be difficult shoot with your eye on the eyepiece and almost impossible with your face away -- unless your an expert marksman. I know I was shifting topics in the above comments but I'm just curious about a bunch of things Super 8-wise. Thanks, Robert
  9. Thanks for your advice. I would like to shoot color but if b/w will look better (more easily art directed and more uniform) than I would use that. I have a roll of Tri-X, some 64T and Vision 200. Which is sharper 64T with a lot of daylight or the Vision 200 because it's a newer and faster stock? Thanks, Robert
  10. I'm planning on shooting a film on Super 8. I have a Nizo 6080 with a crystal sync modification. I'll use only exterior locations and shooting during the the day. The interiors wille be some abandoned building locations where daylight comes in from open windows with no glass. Here are a few questions: 1. Should I modify the gate of my camera to make more wide format? 2. What is the best Super 8 or Pro8mm film stock to shoot on in daylight? 3. What film stock is the best to shooting in an interior with natural light? I've read a fair bit about Super 8 but I'd like hear what anyone has to say on the subject. Thanks, Robert
  11. Looks pretty nice. Something a little unnerving about the sharpness of Red. I guess I'm just used to the look of 35mm film. Good job.
  12. Hi Andries, Good point. I was testing the camera and just wanted to shoot some nice locations. I didn't have any actor on hand to create movement. Thanks, Robert
  13. \\ Thanks Chris. I thought it would probably be possble. What about the color temperature of the bulbs such as General Electric? Should I buy frosted ones or the chrystal clear type? What does one mount the blackwrap on --- small stands made of pencils or something? I woiuld be fun to create a miniature kit with flags and scrims from items bought in hardware store.
  14. Is it possible to light well for Super 8 stop motion using 100 Watt and 50 Watt household bulbs? Just wondering because I don't want to layout for a $500 or $1000 lighting kit just yet. I would appreciate any insight.
  15. I think the pulsing is from converting it to Flash. The QuickTime doesn't have that but now I'm goingg to look more closely. It might be the wavering you sometimes see is Super8. Maybe the conversion brought it out more, but I think it's just the image breaking down. I'll let you know. Thanks Bob.
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