Rachel Oliver

Hi; "Collateral" Olly

Hi; Thanks Stephen, so no scan line issues with the vid then? Olly

Hi; I'm getting ready to shoot a sequence on S16mm film at 25fps in which video is being projected around a room containing actors, I'm not too worried about a flicking image but will I have to deal with scan lines too? The projector is an Infocus DLP and I believe it is progressive scan. The source image of the projection was also 25fps film if thats of any consequence....? Cheers for any wisdom. Olly

Hi; Does anyone else find CG images of people (eg matrix 2) to just be consistently wrong? I find things like landscape and background CG sets usually far more exceptable because I think ambiguity works there, who can say exactly what a hill looks like? With human forms though, much like life painting, if it isnt right it just screams wrong and snaps me straight out of the story, I guess we all instinctively know how a human body should look and move and it seems no one has cracked it yet... Olly

Hi; Can we have a compass and a mini saw too? Oh and a fishing hook.... Ps must say my REX-5 has been very solid for me in terms of registration and l believe the path to S16 conversion would have been harder with the Arri too? Olly

Hi; I've done wads of £50 notes before by sticking 3 or 4 of the real notes at the top and filling the rest as just slightly off white paper cut to size with a little yellow tape holding them all together, was totally convincing, I remember at the time being advized by an old time pro stills guy that colour photo copying Brit currency was not a good idea.... Olly

Hi; Wow! That is a great site Scott, I like the cat in the case.... Olly

Hi; Make sure your camera has a crystal sync motor, most pro digital audio recorders are very stable these days and have some form of constant speed control, with this in mind sync between both should be ok... Always works for me! No need for pilotone. Olly

Hi; I heard the Arri 16S's are hard to "upgrade" to S16? Any one know it that's true? Olly

Hi; Absolutely, we get very ripped off here, why not use the extra cash for a little holiday in the USA! Olly

Hi; Yeah maybe, or maybe David Lynch is an artist 1st and film maker 2nd and thus he works with whatever tools take him to his artistic goal. I think after so many years of making some very very strong work he's more than proven his passion and perfectionist trates, he does not seem like a guy that would just shoot video coz he could not be bothered to work hard anymore.... Olly

Hi; Also I've found Soho Images to be pretty cool over the years, they are rather friendly to students too, ask for Len Thornton, he will help you out there. I've gotten graded SD telecines made there for suprisingly decent rates.... Olly

Hi; I've been shooting with a Bolex RX5 that was converted to S16 and had a new hard bayonet mount fitted, I use 2nd generation kern primes and often a tobin motor. I also shoot alot of doc mos sequences and find this set up to work really really well. My registration has always been very solid and the Kern primes are stunning (if a tad "retro") I'd say if budget is a concern and you already own a good Bolex then get it converted, It's definately worth it. For "drama" type work it's maybe not so perfect but for a small doc it can provide very professional results indeed. Olly

Hi; Thanks John, your a credit to the organisation. Olly

Hi; I've been given 1,500 feet O' 7245 and 7218 for sequences in a travel doc over the next 3/4/5 months, It's currently sitting in my fridge but I've never kept raw stock for more than a few weeks so I'm wondering what to expect? I know Kodak recomend no more than 3 months unless frozen but I'd rather avoid freezing (not much room) So I guess I'm asking if 4 to 5 months would be ok in a domestic fridge, Any one done that? Thanks Olly

Hi; Start searching out Eclair 16mm cameras...... Olly

Hi; for any kinda prolonged sync sound sequences a Bolex is not really gonna be very helpful (unless you like the sound of sewing machines all over your dialogue!) I must say however that it can be done.... Some people make incredible blimps for these things, this combined with inteligent camera placement/movement and great post audio manipulation, could bring ok results but even then I'd say only for minor moments. I own an RX5 and I love it, but I use it for non sync always even with the Tobin. Olly

Hi; :P Olly

Hi; but I've already got a handheld HD Camera only cabable of short loads..... Its called a Bolex! (just kidding) Fun! Olly

Hi; These are from a short I did, standard 16mm 320T Kodak. We had NO budget so used 1k and 2k video lights and a 100watt photo flood for the back light, was a good learning experience for me. PS this was not the greatest telecine of all time..... Olly

So why not just label 7218 as 400asa, and 7205 as 200asa, etc.? <{POST_SNAPBACK}> Hi; Because that would be very misleading! Pushing/pulling away from the true asa of the stock are creative decisions but to assume this is what all film makers want would be very, well.... assuming. Olly

Hi; I have 3 carts of that stuff in my fridge but am yet to check it out.... Mine is out of date and that Ebay stuff probably is too? but it's so funky and cheap who cares. I'm told it looks "amazing" very grainy/contrasty stuff, good for alternative looks and cheap as chips, good luck. Olly

Hi; That's a little strange Phil, how were they both viewed? There's so many reasons why grain can increase or decrease but as a general rule of thumb K40 is traditionaly considered very tightly grained, when correctly exposed and processed from fresh stock. In my experience S8 Neg has more grain. Alot of K40 tends to sit about in fluctuating temperatures for long periods before it gets shot.... It just dosent have as strict quality control as 16 and 35 once it's left Kodak. Olly

Hi; Kern Switar POE zoom..... (covers S16) Olly