Marc Alucard

Wow!!! Vince Vaughn won't even bring up "Psycho (1998)" during his many appearances On "Dinner for Five".

Thank you Stephen!! Best laugh I had today. Cheers, Marc

Weapon of Choice - Fatboy Slim Directed by Spike Jonze featuring Christopher Walken.

Try here: http://www.widescreenmuseum.com/widescreen/wingcs8.htm

I have a Gordon Yoder Cine-voice AC sync camera with two Mitchell 400 foot mags and a Som Berthiot 17-85 f1:2 zoom with dogleg finder. This conversion allows you to use an external Mitchell mag or 100 foot daylight spools. It all comes in an aluminum flight case. PM me if you are interested. Cheers, Marc

2001 Blade Runner Chinatown Dr. Strangelove Fight Club Goodfellas Kill Bill 1&2 Mildred Pierce Pulp Fiction Sin City Sunset Blvd. This is Spinal Tap I can't count the stuff I surf into on broadcast.

Cables Try here. The customer ratings will give you the idea you get what you pay for. It is worth going to somewhere you can see the cable in person. Once you get past the actually quality of the cable and connectors you will find the jackets on some cables don't make it lay well or roll up easily. That becomes an issue if you use it frequently. Not an issue if it is in a rack. I prefer Mogami Neglex Quad cable and Neutrik connectors myself. Cheers, Marc

I can't agree more on what Max wrote. Be prepared to test any equipment you get.The camera and all magazines for steadiness, scratching and light leaks. Checking every lens on a projector will definitively answer your resolution question, as well as turn up any problems particular to that lens. Finding out you if have equipment problems before you buy is a lot easier than finding out when you get your film back from the lab on your first project. Try to buy your gear from a reputable dealer that has serviced it and backs it up with a warranty. In regards to your Lomo vs. Nikon question you must factor in mounting issues. The Lomo lenses are made for the Konvas cameras, and are ready to shoot. Nikon (or other still) lenses will require a custom mount or adapter for almost all motion picture cameras. Still lenses are a good route to go if you already own, or have access to a set. Arri IIc cameras can be hard fronted for PL, BNCR and certain still lens mounts. Focal length selection requires information on what you are filming. A Konvas or Arri IIc make quite a bit of noise when running that may require longer lenses for sync sound recording. That's not an issue if you are shooting music videos MOS. For what it's worth, my four lens focal length recommendations are 20mm, 35mm, 50mm, and a 75mm for starters. Don't forget to budget for camera support, filters, extra batteries and chargers, a changing bag or tent, and all your consumables. And then there are the other small details like grip and lighting equipment as well as sound. My best advice is to buy the best condition newest gear you can afford from a well known dealer that will support you and be around when you are ready to upgrade. Cheers, Marc

Answers Read the article, all the answers are there.

Hi Richard, I am a big fan of stop motion animation. The original construction paper cut-out animation in South Park has a look that never could be matched using CGI. Three dimensional stop motion uses all the same photographic (photo-chemical or digital), and lighting techniques that are used in full size live action film making. Bill Pope's work on Team America World Police was a great example of using all the trick's in the bag to make a "puppet movie". Corpse Bride will be a landmark in animation that will raise the bar on what can be done in stop motion. Unfortunately CGI is often used to create countless clones, trolls, elves, and soldiers that never look right IMHO. Sin City was the first "flick" that used CGI to create a believable comic book world that in no way looked real, but achieved the look of Frank Miller's graphic novels. Technology offers film makers new tools all the time. The artists that utilize these tools are the irreplaceable element. Early television pushed filmmaking into the wide screen era. Now HDTV is following film into the wide screen era. I feel that film has a unique look that will endure for a long time. Cheers, Marc

There still is the entire film out process, as well as all the distribution prints. Most people will view Corpse Bride in a theater projecting film. Until it's released on DVD.

http://www.editorsguild.com/newsletter/Jul...ug05_bride.html Hello Richard, I think you picked a bad example in Corpse Bride. I am pretty sure it is the first feature shot on digital SLR still cameras. Personally, I feel film will be around for a lot longer than some people think. Cheers, Marc

It was "The Killing"

Sorry Michael, bdiu@earthlink.net The mount I have is 26mm.

Michael, I have a spare c-mount cup that measures about 2.125" across the male lens threads which I think is the larger of the two finder cup mounts. Email me at bdiu@earthlink if it is what you are looking for. Cheers, Marc

My BNCR was built up by Fouad Said as part of his Cinemobile package. It was used for the series I Spy in the '60s. The Mitchells are all works of art. Unfortunately the rarest Mitchell is an original unmolested one. You may want to contact Sam Dodge http://www.samdodge.com/ for more info. He knows these cameras very well. Check out his "King Kong" Mitchell Standard.

Hello Paul, The yellow button and jack replaced the original level on the base, They may be tied into the sync tone set-up in the CP Motor. The other open slot in the base is not original either. The rod in the film path may be a part of a run out assembly to stop the motor. I haven't seen anything like it before myself. The sliding door on the viewfinder assembly allows access to the ground glass. All these cameras can may have unique modifications done to them throughout their working lives. Cheers, Marc If you need I can fax you a few relevant pages of the manual. I emailed you a picture of my camera.

Hello Paul, I collect Mitchell cameras so here is a little info for you from S.O.C. website: FOCUSING The camera box holding the gate, shutter and movement, and supporting the magazine, slides left and right on an "L"-shaped bed. At the front of the assembly is the upright of the "L," holding the four-lens turret as well as all lens-related effects devices. The under side of the bed attaches to the tripod. On the left side of the camera box, integral with the door, is a tube with a focusing eyepiece. A "T"-shaped handle on the rear edge of the bed controls the movement of the camera box across the bed. Turning the handle counterclockwise slides the camera box to the left side of the bed; in this position the film is behind the taking lens and the focusing tube is looking at a blank spot on the back of the upright. On turning the handle clockwise, the camera box shifts to the right, moving the gate away from the aperture and placing the focusing tube there instead. Focusing can then be done on a full-aperture ground glass mounted at the front of the focusing tube. To turn the "T"-shaped handle, depress the button in the center of the spindle, as soon as the handle begins turning, release the button; the handle will then lock in the right place. WARNING: If you don't release the button, you could be risking damage because some Standard cameras have no stop to prevent the camera box from sliding past the end of the track and detaching from the bed. If the handle does slip off the gears and you have to crank it back on, be sure that in its left and right locked positions the handle doesn't extend below the plane of the camera bottom; if it does, there's a risk that someone will rest the camera weight on the protruding handle and distort it. The improvement that this rackover method offers over the similar method found on the Bell & Howell Studio camera may not be evident at first glance, but a few minutes of operation with both systems clearly reveals the advantages of the Mitchell technique. Both provide full-aperture viewing at the exact position the taking lens will occupy during the exposure, and in theory neither method requires the operator to disturb mattes and adjustments in front of the lens. But in practice it's usually necessary with the Bell & Howell to slide the matte box out on its rails in order to rotate the lens and shift the camera. With the Mitchell all the movement takes place behind the lens standard, and the lens with its preset effects remains truly undisturbed. The cameraman is less reluctant about taking that last look at the scene to double-check just before shooting. This in itself is a major reason that the Mitchell so quickly became a popular competitor. VIEWING Viewing is possible on the ground glass when the camera is shifted to the focusing position, and this is the only absolutely reliable check for critical framing and effects; of course it's not possible during the actual taking of the scene. From the first the Mitchell Camera Co offered the conventional "spyglass" finders with individual objectives matched to the taking lenses. Beginning in the late Twenties the company also manufactured an excellent patented side finder that shows the scene upright and laterally correct on a large ground glass. Masks are inserted in this finder to indicate correct fields of view for the various lenses. The finder pivots to compensate for parallax. (Later finders have built-in matte ribbons to set the field of view.) As far as the Cinema Products motor goes the "slate" you are speaking of is a tone that sounds when the motor reaches speed. Reprint manuals are available on from http://indycine.com/manuals/ these guys directly or they sell them on Ebay quite often. Who did the 2 perf conversion? Please post pictures and I'll try to get you more info. Cheers, Marc