Matt Stevens

Shoot 200t and 500t and go B&W in post. You won't be risking disaster that way.

Thank, Chris. Rehearsal is a vital tool and I cannot for the life of me understand how any producer or director would be unaware of this. Last fall I did an acting cameo for a fiend (i was basically playing myself so it wasn't a stretch) and i was stunned how little the young director prepped. I showed up, waited, was put in place, talked to for about two minutes and then told 'Action!' We didn't rehearse at all. They were shooting with an EPIC and figured they'd just find the scene. I wanted to slap the director upside the head. Thomas, thanks for that information. i have sent an email to the DP and producer asking them to check out this thread. I am committed to shooting film while I still can. 16mm is THE look we want and I for one am not about to settle for creating the look in post. I also believe just the idea of shooting on actual film will energize the cast and crew. By the way, I'd be all for shooting the entire production on film but since more than half of the film takes place in a S.E. Asian country with no film labs, we have to shoot that section digitally.

Chris, I think your reply is missing.

Heikki, the act in question is likely going to run 30 minutes, give or take a few. I'm hoping for a 3:1 ratio after extensive rehearsals but 4:1 is more realistic. We can even shoot regular 16mm and either crop of 1.85:1 or leave it 4X3 as cramped spacing for that act could work artistically. Dirk, you are way on over in Belgium! never been there, but hope to visit one day. We would be shooting in New York City and Jersey City so it would phenomenal were we to find a place capable of doing all of our post right here in the Big Apple.

Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (uh, yeah, ok), I want to shoot one of the three acts on film. The story lends itself to this as we need a different look for each act. I also want to be able to say "we shot on film" not only because it's an interesting talking point, but also because before long I think it won't be possible. What I need to know is this: What would you advise as the cheapest solution and workflow for shooting on Super 16? 35mm is out, naturally, due to cost. I like the look of super 16 and it's easy to find lenses in the NYC area. Back in 2001 when I shot my first short the negatives were processed, given a one light with time code and we edited in AVID. Then the negative was cut AB style and we bypassed creating a positive (because I was out of money) and made a 35mm print from the AB rolls. (For a feature we clearly would not have been able to skip the positive step) It is now my understanding that traditional negative cutting is almost never used today. ??? The people involved with this planned film are almost 100% RED and 5D people and as you can imagine, mostly low low budgeters. Those that have shot on film were not in any way involved with post. So I go to you for ideas! I hear things like, "It's too expensive to scan all that negative and color correct it." So how about photo chemically, like it used to be done? "No that's too expensive too." Etc. etc. Thanks for your help.

It's not just transfers that can be a problem. It's their billing. They can charge you what they want and just claim you asked for it. I had to fight a bogus charge last month. They were so rude and nasty I was stunned and they flat out told me they don't care if they lose my business. Nice. They are miserable mother.... Well, let me just stop or I'll go on a rant.

Please, for the sake of your sanity, avoid Pro8. Just do a search on pro8mm in the forum and you will see why.

So I edited a quick teaser of my first short film, shot on super16 back in 2001. Tom transferred my 35mm blow-up and as mentioned, it has flaws in the form of some stationary spots. Those will be erased (when I get around to it). I instructed Tom not to use any DNR of any kind. I probably could have allowed him to use it minimally in certain scenes, but eventually I will have him transfer the 16mm negative and want to have the 35mm as it actually is to compare. Keep in mind Youtube turns video to mush. I'll post me PNG's when I get back from vacation. http://www.youtube.com/watch?v=tMFRPMHTiZ0

Amazing. That looks 16mm to my eyes.

Tom provided me a 1080p transfer of my 35mm print (blow-up from super16) and I will put together a sample and post it at Vimeo when I have a chance. I was pleased with his work. I hope to have him do a 2k of the zero cut 16mm negatives later this year and from there I would have a 16mm preservation print made.

How many times has this been asked?

It is what it is. Now with all the DSLR DP's nobody is paying squat because everybody is a DP. I have gotten involved in some 'free' work and will do it for good friends. In fact, a bunch of us are going to start planning a feature, ala Chris Nolan's FOLLOWING. But we will still have to pay the sound guy. The catering. The assistant, etc. Anyway, just ranting.

The Energizer is too small. it does not have the needed length so I am still on the hunt.

I just dumped all of my Pro8mm rolls on eBay. At a small loss. And I don't care. I simply do not want to EVER deal with them again.

Never had a bad experience with Dwaynes. Pro8mm is caters to their rich clients and screws over anyone and everyone else. When they refused to budge on their overcharging me I told them "I guess this is the last time i use Pro8." Their response: "Well we'd have to check how much you have spent with us, but I'm willing to bet it's nothing." The height of arrogance.

For Ektachrome I use Dwaynes or Pac Lab in NYC. I wish Dwayne's did Tri-X as I'd just use them for that too and stick with them for all of my reversal. They are just never butts and they can provide a dirt cheap SD transfer.

If I lived near Pro8mm, the latest issue would not have happened. But when you have to mail stuff to them, you are at their mercy. They will charge what they want and even do things not asked for.

OK, excellent. Thanks.

I always say the Canon 310XL is the best starter camera. Pretty much focuses itself and has the fastest lens of all time. http://www.ebay.com/itm/CANON-310XL-SUPER-8-VINTAGE-MOVIE-CAMERA-W-LEATHER-CASE-/140903673221?pt=US_Vintage_Cameras&hash=item20ce836d85 The 514 XL is also a great camera. The 814 and 1014's are all great. Canons are the best for newbies as there are plenty of them, plenty of spare parts and most in the forums have used them or are familiar with them.

I would encourage poster to buy a super8 camera that is in good working order. There are plenty on eBay and we can assist in helping you look. Buy a bunch of B&W Tri-X reversal from Kodak (it's the cheapest). Shoot at 18fps on your first rolls. Experiment. Make sure to slate everything so you can visually see "Oh, I shot that at 2.8" so you can see your mistakes. Film costs money. It's cheaper to buy a digital camera. But it is not as rewarding.

http://www.bhphotovi..._Batteries.html OK, I think if I had three of these (totaling six batteries) I am good, yes? It would be great to find something that can take the place of all six. One battery to do the job.

I was given an old Minolta Flash Meter III. It is without batteries and after researching, I have found that I am beyond confused. Every search I do gives me contradictory information. Could someone familiar with this light meter point me to exactly what I need to power this thing? So far I read that this works... http://www.jr.com/energizer/pe/ENR_A544BP/ But that this works... http://www.ebay.com/itm/Minolta-Flash-Meter-III-Silver-Oxide-Batteries-x6-/180692143409?_trksid=p2045573.m2042&_trkparms=aid%3D111000%26algo%3DREC.CURRENT%26ao%3D1%26asc%3D27%26meid%3D4825571714958730983%26pid%3D100033%26prg%3D1011%26rk%3D3%26sd%3D121002435600%26 Which doesn't help me bcause it's overseas so I'd need to find the same here. Some say lithium is ok. Some say no way, it'll ruin the meter, stick with silver. I'm pulling my hair out. Sorry if I seem confused. I would love to go down to the nearest drug store or Wal-Mart or supermarket and just buy the battery I need.

I have tended to be 3:1 but I rehearse rehearse rehearse. That ratio is for a short film. i have yet to try a feature.

I would kill for one roll before I get on a plane for Vietnam January 25. But it's not looking like that'll happen.

I've 8 rolls of 100D left. Shot pone the other day. Sold two for a profit. Six will go with my to S.E. Asia and the last two stay in three fridge until called upon.