Niall Conroy

First of all, many thanks for your reply, Vincenzo. Very inspiring and helpful. well, the film is about Conor who is a milkman - his father has just died, so he is now taking over the family business of milkmen(which has been the family trade going back to his great-grandfather) However, milkmen are no longer relevant in this day and age and Conor doesn't want to be a milkman for the rest of his life - he secretly dreams of becoming famous. His father was a well respected man among his town, and achieved local fame when he found himself in the right place at the right time while on his early morning shift, saving a burning homeless-mans life by extinguishing the flames with his milk. Conor decides to try re-create this situation in an attempt to become famous himself...but it doesn't go too smoothly It's meant to be quite an experimental/oneiric film - and when I say this I simply mean that it will be different as opposed to a typical drama, with the intent to experiment and try things differently with interesting shots and use of sound The film only has 3 locations - One interior apartment/house which will have a mix between very diffused low light + dramatic high contrast film noir type lighting - then the two exterior locations are a housing street and an alleyway (which would always take place very early morning) I guess the best I could do to illustrate what i'm currently looking for would be some of the images I used to pitch the project: single light source effect, mainly from window+curtains alike some of Tarkovsky's Polaroids: for some scenes i'd like to try keep single light sources such as the TV some scenes to have a more dramatic lighting sceme: then the exterior early morning stuff would hopefully(yet unlikely in Ireland) capture that early morning light: My biggest concern with shooting s16 and trying to achieve similar to the above images would be the fear of not obtaining correct exposure under such low light situations. indeed! I have heard word of previous graduates getting good student deals with Fuji - and i'm sure there's definitely possibilities with Kodak also I couldn't agree more. I prefer working under such constraints, the ability to take multiple takes sometimes diminishes the overall quality. Necessity is the mother of invention! Thanks for that tip, i'll look out for it. I should also note - i found out that we will NOT have access to the s-log for the F3. So that pretty much ends my interest with the F3. There is one other possibility of shooting with the gh2 hacked and possibly getting a PL mount for it. But i'll have to look further into that. Very true, however i'm actually directing this film and working with a friend who will shot it. Thanks again for your thoughts.

many thanks for your thoughts, guys. It's much appreciated. It definitely makes sense to prioritise art department in terms of the budget - then I can see what left over and if it's even feasible to think about shooting film without hindering the rest of the production I'll hopefully find out in the next few days whether we have the s-log or not - that should stoke the conundrum somewhat thanks again, guys

well...that's a tough one to explain over this forum. It will most likely be a combination of locked off + handheld (predominately handheld) it occurs twice in the film - both similar scenarios both taking place in an alleyway with a body laying on the ground (motionless at first, then slight movement with flailing of hands towards the end/extinguishing) It is supposed to be quite a high octane sequence And yes, there most probably would be moving objects in front of the fire, but only towards the end of the sequences - in one case a man extinguishing fire with milk + the other time with a man beating the fire out with a coat. however - during the parts where the fire is being interacted with by the man - i'm sure we could have an actual fire - as the shot will be most likely tight OTS and would not need to show the burning mans upper body. (I can't imagine any effects doing a good enough job to simulate a fire being extinguished in real time) However for the parts leading up to the extinguishing - there would be no obstructions or interactions with the fire I hope that all makes some sense? I could potentially post the scene from the script - but I'm not sure how much that will help matters.

many thanks for these good points, Phil. It's true that this money should be invested into what the camera sees, rather than the actual camera itself. Having said that, i'm not very fond of what i've seen with the F3 without s-log - and if we don't have it (still waiting to find out) i'd be hesitant to use it - never been a big fan of the images that sony cameras produce I did a very quick numbers crunch in terms of stock/develop/scan: If in an ideal world I got my hands on 800foot, it would probably set me back 200. Then process might cost 100 (thinking student prices). Then I think i saw one website advertising $0.45 per foot - so that'd work out around €360 so overall roughly €700? give or take for student prices also stumbled upon this site: http://www.complete16.com/index.html which looks like I'd only be paying €420'ish...but then again, it could be a inferior quality scan - its listed as 'Best Light HD scan' and the truth is I just don't know which scanning methods are better or worse than one another any one else have any thoughts/opinions?

Hey guys, I'm shooting my grad film in a few months time - I have 2 scenes in which a man is set on fire - more specifically it's a sleeping man who is laying in a sleeping bag in an alleyway during early morning. At no point does he stand up - always remaining laying down on the ground. The man is eventually extinguished with milk. It wouldn't be a full body burn. I'm planing on just lighting the bottom part of the sleeping bag - with the fire hopefully not going above his waist line. Does anyone have suggestions of ways in which to execute these types of scenes? are there alternatives to actually setting a man inside a sleeping bag on fire - such as camera/editing tricks with superimposing? (not sure about CGI as I wouldn't really know who to go to, the cost involved, or if it would even look 'real' in the end) any thoughts or comments much appreciated

Hey guys, Just wondering what your thoughts would be on having the choice to shoot on either the Sony F3 (possibly with s-log, but that is TBC) or shooting on the arri SRII with a HD scanning of the negs My budget is looking around the €2,000 mark. These are both college cameras, so no cost being lost there - however I would have to pay for developing + scanning costs if I shot film Aiming for a 6 to 12 minute short. I'm leaning towards super16 for its grainy aesthetics (it's a fairly experimental film), but having said that i'm starting to wonder if such a look can be emulated in post with the F3 + s-log (and it being safer) Does any one have any idea of a ball park figure for cost involved shooting film with the desire to HD scan? And is it worth it when I have access to a free F3 plus a lovely set of zeiss primes? I know the answers to these sorts of questions always boils down to the films subject matter and "the right format is what's right for the particular film" - but having said that, if you the Director/DOP had the choice personally, which would you choose and why? all opinions welcomed

great show and great book.

great stuff: http://www.youtube.com/watch?v=-nVBDX3P5TY

i always was intending to shoot my own. I guess I just didn't get that point across in my original post. excellent! many thanks!... although the 'key-word' isn't much of a keyword - quite open to interpretation from google :) great help tho, thanks.

Hey guys, I'm shooting a super-8 piece in a few weeks, and i thought it would be nice to include those classic stylised colour balancing scenes that are shot at the start (or some point) of a roll of film. Been trying to find more reference photos on the internet, but seeing as I lack a key-word, Its proving difficult. I did however spot this image on TV a few days ago: which is exactly the sort of style I want for the shot - so anyone recall seeing any images floating about similar to this - or any videos on youtube/vimeo I could have sworn they had these sorts of shot in that old Kodak test film: Hope that all made sense thanks for reading!

i appreciate all this, Jason. But i feel i should clarify that I have worked with film many times and understand it (although, i am by no means at professional level).

beautiful, thanks. Do you have any opinion in the 85 filter vs. no 85 filter debate? i guess i'll shoot with it, just in case. (in daylight)

first of all, many thanks for getting back to me with all this Crazily enough - i got the camera for .99p - the seller was selling it for parts/spares as he said the light meter stopped working and the footage counter didn't work. However, the light meter seems to be working for me so far (havn't tried to put a cart in yet and test) and i will be using the camera for real - i.e. short films etc. (i already have a elmo 1012s-xl) true, but the manual (which i have) advises to shoot at the 150degree shutter when in daylight, which is what i was referring to, and is 1/40 and yes, the bracketing does sadly seem to be only option here, which will end up costing quite a pretty penny. but i guess its for the best. do you own this camera also? have you shot with 200t?

Hey all, quick question - I just bought a Canon 814 XL electronic and i want to shoot a test roll. i want to test a Vision 200T with it my understanding is that the camera will read this as 160 or 100 ISO. however, i don't fully understand what the Vision 200T does to the camera - does it activate the 85 filter or DE-activate the in-built 85 filter? I can't fully trust the camera's auto-exposure (seller says it may not work correctly) so i'm going to try manual meter it. so I guess my question is: what ISO/ASA will I use to interpret the exposure? I plan to use a DSLR as a light meter (can't get my hand on a proper dedicated light meter) so if I set 1/40 shutter speed, 160 ISO, and then find a good exposure with my DSLR - i should theoretically be able to re-use these settings on the canon 814? secondly - what is the opinion of people with using the internal 85 filter? I read in another thread (http://www.cinematography.com/index.php?showtopic=46783) that some people chose to shoot without the 85 filter, in daylight, with this tungsten film - is this not insane? I've watched some videos where they didn't use the 85 filter, and it looked fine, but it still sounds crazy...

wow, 35 dollars is a pretty sweet deal for 2k... when I was researching telecine prices last time I could never find a price quote on companies websites, so i just assumed 2k/4k scans were horribly expensive i may go for a 2k scan next time now

yes indeed, that Tri-X really does pop, looks really great! how much did the 2k scanning cost? per cartridge? Do you think theres a noticeable difference than the HD - and is the price alot more or less?

oh great, nice to know. did you ever see if the DSLR work-flow paid off? i.e. the rushes looked well exposed?

Just a thought...if I can't get my hands on a proper light meter, so decide to use my DLSR (canon 60D) - do you think one could get a semi-accurate example of what the exposure may look like? So lets say i'm shooting with some 100D at 24fps - Could I take my DSLR, set the ISO to 100 and the shutter speed to 40(apparently the elmo's shutter speed is 39, but 40 will do) and then mess with the aperture till i get an exposure i'm satisfied with - could I then just manually set the elmo with this aperture and be confident that it will produce an accurate exposure? I guess I could test this by seeing what the automatic exposure says on the elmo and then cross referencing it with my DSLR exposure... anyone ever tried this?

also, a friend of mine just showed me this site: http://cheap-super8camera-shop.com/ some pretty great prices

i just bought a Canon 814 XL Electronic for....wait for it....0.99p. It was off ebay - apparently the light meter and film counter don't work, so it was sold for spares/repair. But other than that he said it should work. So hopefully this sort of situation may keep your hopes up for finding a great deal like it. My original super8 that i bought, the elmo 1012s-xl, only cost €56 i think - and its a great camera I'm not sure if the Bauer's shoot 24fps - but i've seen at least 3 top quality versions in recent weeks selling for under €60 - some as low as 35. So just maybe get a wish list of cameras and keep checking in on ebay(or other places) till one pops up.

wow, great stuff. Feels like the beginning of a 'found footage' film - also very effective use of his over-dubbed voice.

some nice stuff - 'Dear Cupio' in particular looked great.

Hey, Finally got my test reel back. Thought i'd share it. Nothing too special within, just basically testing to see if the camera even worked. HD scan. http://www.vimeo.com/28678551

do you reckon they under perform as a result? or do they function OK - but just dont feel mounted safely?