Eric F Adams

I was researching the original Texas Chainsaw Massacre and I saw that when then run the 18 wheeler over the crazy guy at the end...they had the crazy guy put his chest to the front of the truck and then they reversed the truck as he ran backwards looking crazy..then the reversed the footage for the film and it's looks like the truck strikes him hard. I hear this is old trick. My question is: Would this work for me if I am editing on FCP? Using the same principle, it seems like you could do a "good kick to the face" or "a smack with a bat" etc... What are your thoughts on this??...specifically in relation to editing on FCP once the film is processed and put in a hard drive.

On a SR2 we are fooling with with have a Cooke 10.4-52mm. I notice forinstance, If my subject is like 12 feet away, and then he approaches to about 6 feet away and we have our focus set for 10 feet...we still received a good picture back from the lab. My question is: Generally, how much "play" (in feet) do you have when the subject is moving closer/further away and the focus is set at a fixed mark? Like in the example above, I was surprised to see the subjects were in focus when we did not pull/push the focus at two separate points.

Thanks Ari, I appreciate the response.

I need some advice from you lighting gurus in here. I am doing a no budget film soon (horror) and I've been doing some test footage. My night footage outdoors has been the weakest so far. The night footage near a house or a vehicle with lights on has been good, but its the night footage in the woods that is tricky. I will be shooting on a S16 SR2 on 7219. I have limited film to experiment so I want to experiment with the best possible combination available. I have 4 lights. Lowel Omni, V, Tota, and D. What i noticed in the first test, it appears having 2 lights ( 1 deep and 1 shallow) on just one side of the actors looks best. And I got high up on a 20 foot ladder with a light about 20 feet away for the shallow light and had the deep light about 30 yards away pointing directly behind them. It's not thick woods, just equivalent to a large backyard with several trees. My question is; I am just trying to find the right combination. With those 4 lights at your disposal, what would be the best combination to give me a nice look. oh, I do have a few diffusers, umbrellas, and a black flag. Also, please be specific. i.e. keep Omni shallow, 20 yard away facing... the more specific you are, the better it helps me understand. I appreciate any advice, thanks. Eric

thanks for the reply... that's pretty impressive...that seems to be the way to go if u have two talking heads at a table or something.... would it record on two separate tracks or one one track?

I am curious...please fill me in.

I got my SR2 converted to Super by Bernie O'doherty... it doesn't get any better than this guy... fair prices, very knowledgable and a pleasure to work with... http://www.super16inc.com/page4.html

Mitch, would it matter that the end of the film is not placed in the little slit located on the core once i insert the plastic core in the film? cause that would be hard to do in my little changing bag...lol, I have enough to do in that bag as it is... Thanks, Eric

Thanks Robert... I will certainly call those places.

Thanks Adrian... that sounds easy enough.... i'll remove it and write "NO CORE" on the can. That shouldn't pose a problem for the lab I assume...

Mine went out too and it's not worth the money to get it replaced...

On this SR2 S16, the 'take up' side has a fancy metal core with a nice little clap to secure the film. I am not familiar with this and I certainly dont believe I will ship this with the film. lol. My question is... while in the changing bag, do i just remove this metal core and insert a plastic one prior to putting it in the can? Gosh, that appears to be one extra step. I would just put a plastic core in its spot, but I don't have a core adapter. Could someone fill me in on how to go about this fancy core? Pic is attached.. Thanks in advance.

I am in Louisiana. I seem to be finding difficulties locating a place that develops super 16mm film. (color neg.) I contacted the place in Dallas that was suppose to be pretty good. I told them that I was going to do some test rolls within the next couple of weeks that need developing and then in the Fall, i was going to do a feature (ultra low budget - like a student, but I'm not a student, lol)... they pretty much blew me off (i believe since i was not a production company, etc..) and said they would call me back.... well never heard back from them... The second place I contacted is in New Orleans and they say u must submit and 'inquiry' via email about your request and they will get back to you. I sent a nice lil' inquiry ..well, i have yet to hear from them (it's been a few days) It appears my project or my money is no good to these guys... Basically I just want to get my darn film developed and have a 'master copy' made so i can go from there..... I realize there are several places in Los Angeles but for some reason I was wanting to find a place near Louisiana... felt like I would get better service and my film wouldn't be shipped across the country each time...maybe i should change my thinking on that...lol. My questions are: 1. Is there a certain 'wording' or processing avenue i should request or take for my request in developing my film??.... 2. Do you know of a place that you trust and have good rates that I could get my film developed??... 3. Any other suggestions or advice I need to be aware of when i enter the 'developing of film' stage?? Thanks so much for any suggestions...

Well, tell me where I can purchase this... do you mean straight from the Fuji corporation? If so, there are like 15 fuji corps around the world... I'm in Louisiana, what would be the closest to me with the best price? Who do I need to speak with? Phone number please... thanks. Eric

I just got the SR2 converted to "super"....now my current lens is no good. I am wanting suggestions please. Just a good general purpose zoom lens to use all the time. Basically "point and shoot" ....not too fancy, because i'm a "newby" to the Super SR2 world. Good for close-ups, yet can get a good "establishing" shot as well. Thanks for any suggestion. Eric

Thanks so much for the suggestions. William, so the head and legs are sold separate? Is that what you are saying... Eric

Great...thanks Adrian.

I've been told the leaders are Manfrotto...Satchler...Miller...O'Connor...Cartoni, but I have burnt myself out trying to compare characteristics/prices of all the above. The tripod will be used for an Arri SR2. My question is...(and it's a 3 part question if you don't mind) 1) which brand? 2) which model of that brand? 3) why did you choose this model/brand? The price I'm shooting for is "middle-of-the-road"....not dirt cheap, nor top of the line. Any advice would be greatly appreciated. Thanks so much. Eric

I've been told the leaders are Manfrotto...Satchler...Miller...O'Connor...Cartoni, but I have burnt myself out trying to compare characteristics/prices of all the above. The tripod will be used for an Arri SR2. My question is...(and it's a 3 part question if you don't mind) 1) which brand? 2) which model of that brand? 3) why did you choose this model/brand? The price I'm shooting for is "middle-of-the-road"....not dirt cheap, nor top of the line. Any advice would be greatly appreciated. Thanks so much. Eric

i like it... thumbs up!

Will....yes, I certainly will do that... I'm a novice with the 16mm, but eager to learn. Michael, yes, i looked into it but i felt more confident with "super" although it appears "ultra" is gaining. Thanks. Eric

Greetings forum... I'm excited. This month I'm sending off my Arri SR2 to get it converted to "super".... I just have to wait for my Pelican case to arrive in the mail...lol. I didn't trust the ole metal Arriflex case the camera originally came in... all the foam has deteriorated. Eric Adams