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Joshua Hill

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About Joshua Hill

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  1. After years of holding on to the vague hope that I'd be able to shoot a significant amount of Super-8/16mm film, I'm realizing that (being that I've been unable to afford to shoot any film at all) the better bet would be to get off my film high-horse and get an HD camera. I've not owned a video camera since my XL1s years and years ago (over a decade ago, actually), and so while I'm not unfamiliar with the concepts involved, I've been a bit out-of-the-loop and am faced with too many choices to really make an informed decision on my own, so I thought I'd settle in here and find out what everyone thinks. While I know DSLR cameras are all the rage, I'm looking for a pure HD video camera for ergonomic and production reasons. I live in New York, and the majority of my shooting is going to be narrative, often in public places (bars, coffee shops, etc.) guerrilla style, using the backdrop of New York as my production design and focusing on the stories that I've been neglecting to tell. As I look to be starting a job within the next month that is going to provide enough income to purchase (initially) one camera, I've been doing my research to figure out what would suit my needs better. Based on what I'd like in an HD camera, I've narrowed my choices down to two under-$2000 models: Sony NEX-VG20 and the Canon XA10. XA10 - I like it because it is very small, and I've liked a lot of the footage that I've seen from it. While I don't necessarily like the 4:2:0 color space, I like the portability and low-profile. I've also had good experience with canon cameras (XL1s) in the past, so I lean toward that. NEX-VG20 - I like the larger sensor and the colors I've seen far better, and the interchangeable lenses are a huge selling point, but I've always been hesitant about Sony cameras for some reason. It is also a little larger (so it seems) and a little more conspicuous, but not massively so. I cannot find a definitive answer on whether the VG20 is native 24p or not, as that is my preferred shooting mode. Ultimately, I'd like to buy one camera and begin shooting again and, perhaps, pick up a second camera to match it in six or eight months for some dual camera shooting. What are you thoughts on these cameras? Do you have any other suggestions? Thanks in advance; I know I'm going to get some good stuff to think about.
  2. eBay link to film for sale. http://www.ebay.com/itm/Kodak-16mm-motion-picture-film-3200-ft-8-400ft-cans-/260991305071?pt=US_Camera_Film&hash=item3cc44b456f#ht_500wt_1204
  3. I need to get rid of the film, so I'll go 400 plus shipping.
  4. I think when talking about a from-scratch camera system using a "proof of concept" sensor test isn't enough. Think about the multitudes of problems the camera could have. When they don't have a complete camera, even shooting on the same sensor isn't a "proof of concept," it's an entirely different camera system. Of course their sensor works: it's made by a huge company. But how would it interact with rest of their supposedly custom hardware? In my mind, saying that you're shooting on the camera that you invented but shooting on an already existing product is dishonest. Particularly since I never once hear them use the term "proof of concept" in the video that was posted. They kept saying they shot on the Digital Bolex and this was the first short they shot on it and the reason they chose the material was because of the Digital Bolex, etc., etc. Part of being a proof-of-concept is to ADMIT it is a proof-of-concept. But I don't think this falls into that category. Also, from reading how the creators of the Digital Bolex speak about the camera, it seems that they have a pipe dream with no real technical knowledge of how a camera should work.
  5. Then I find this very dishonest of them to claim through the entire video that the footage we are seeing is from their prototype camera when they are simply shooting through an existing system.
  6. They say very clearly that this is shot with the digital bolex, a crowd sourced 2k raw digital camera prototype. It's even the digital bolex's vimeo channel.
  7. I may have actually overestimated the cost of the lot of film. I'll take $600 for the lot, $80 for each of the Vision2 stocks; $100 for the Vision3 and $50 each for the 7222. Plus shipping, of course. liontamarin@gmail.com
  8. I sold my 16mm camera and now I'm getting rid of the film: All cans are 400' for a total of 3200' of film. 4 Cans of Vision2 200T 7217 1 Can of Vision2 500T 7218 1 Can of Vision3 500T 7219 2 Cans of Double-X B&W 7222 I'll do $700 for the lot + actual shipping. I'm willing to break the lot up, but I would prefer to sell it altogether. I will entertain reasonable offers. The black and white film is older, but should still be good. The rest of the film was purchased for a shoot that fell through in January 2010. It has been cold stored for its entire life. E-mail me for offers/questions: liontamarin@gmail.com DO NOT PRIVATE MESSAGE ME. It may be days before I get the message. If you are interested in the film E-MAIL ME.
  9. eBay listing for this camera, starting bid is 800, so significantly under my asking price here: http://www.ebay.com/itm/260968584920?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  10. Hi all, Still looking to get rid of the Eclair ACL for financial reasons. I'll throw the film in (about 3000 feet) at the stated price of $1250 including camera/et al. or I'll sell the camera by itself for $1000. Shipping will be actual shipping price, you name the carrier. Local pickup in New York is also available. Please send me an e-mail if interested, as I do not check my personal messages on here often and I will reply far more quickly to an e-mail. Joshua Hill liontamarin@gmail.com
  11. The time has come, I'm finally selling my Eclair ACL 1.5. I've been unemployed for too long and can't afford to shoot on it. I took it out to shoot a few months ago, paid for the processing, and could never get the money together for the transfer. Here's what is included with the kit: 1 Eclair ACL 1.5 body, completely overhauled and converted to Ultra 16mm in January 2010 by Bernie O'Doherty. 1 Zeiss 10-100mm T3.1 Zoom Lens 1 400' French Magazine 2 External Batteries (one may be in need of recelling, the other works perfectly) 1 Battery Charger 1 Pelican Case Shipping Case w/ Foam for Camera and All accessories For the camera I'm asking $1250 OR best offer plus shipping (should come to between 50 and 100 dollars UPS). For an extra $120 I'll throw in a 10mm Switar lens (I bought it recently for $200). For film, I have Vision 3 200T stock, Vision 2 500T stock, and some 7222 stock. I'll throw the color in for $50 a can for the Vision 3, $35 a can for the Vision 2 and $25 a can for the 7222. I'm only selling the film WITH the camera, because as long as I have a 16mm camera I'd like to keep film around for it. I'm also willing to trade for the right Digital Camera kit, preferably something like a Canon 7D, so if you think you have a decent enough trade make an offer. All reasonable offers will be considered. To make an offer, please e-mail me at liontamarin@gmail.com. I will e-mail photos upon request. I'm located in New York City, so if you're interested and wanted to pick up the camera that would save on shipping.
  12. They clearly offer that option, so I don't think it is a problem at all.
  13. Alex, If you just want to shoot you could possibly use one of my very nice, serviced cameras instead of shelling out cash on one. Also, is Kodak going under? Their stock dipped, but has more than tripled since last month. Best, Josh
  14. Joshua Hill

    Ultra 16mm

    Philip, What you're talking about is not about expanding Ultra16mm into the Super16mm range, it's about expanding Super16mm between the perfs. The problem with this is why Super16 costs so much more than Ultra16 to convert: you must re-center the lens. You can expand Ultra 16 into the Super16 area all you want, but without re-centering the lens you're not going to expose that extra area. I'm actually shooting Ultra16 on an Eclair ACL (converted by Bernie -- my first shoot since last year's conversion) on single perf film. Best, Josh
  15. Hey Oli, I might have a couple things you might be interested in, though I'm in the US; let me know how to contact you. I just spent the last three years in graduate school (writing) and I'm itching to do more actual production work rather than these theoretical scripts that will never see the light of day. Best, Josh
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