Rachel Oliver

This is what I find most disturbing that the public is accepting inferior quality. Marty How do you know they diddn't care? I've often talked to people "Out of the know" about how they feel about dodgy looking films and quality looking films and they ususally do notice and care, they just dont know how to describe it technicaly. Someone once said to me that video was like looking out of a window at the "real" world and film was like a dream..... nice. olly

This is what I find most disturbing that the public is accepting inferior quality. Marty How do you know they diddn't care? I've often talked to people "Out of the know" about how they feel about dodgy looking films and quality looking films and they ususally do notice and care, they just dont know how to describe it technicaly. Someone once said to me that video was like looking out of a window at the "real" world and film was like a dream..... nice. olly

Hi; he shutter stays the same with the Tobin TTL ( cant remember off top of head it's time) it's quite a slow shutter speed (something to do with avoiding the fogging issue) and I use a 5stop ND filter to compensate, this allows me to set the metre at 24fps. I only use this technique when shooting from day to night, as mentioned above to get "That classic look" you want your exposure to remain fixed. Do a word search on the Norris LPC (light priority control) system on google! It's a really cool device that changes shutter speed instead of the iris to maintain depth of field (another problem with iris changes)! Olly PS it is TTL metre....

in kinda relation is there any reason why S16 would be more risky for light leakage on daylight spools compared to standard 16? I read somewhere that it is due to the larger image area but how so? Thanks Olly

Hi Phil; Even my Nizo Pro had trouble with neg! It was very unstable in the gate, I ended up buying a cannon 1014xl as it was the most recent and decent cam I could find, it did OK with the neg but even then the difference between neg and Reversal in terms of image stability was quite a bit. Just wondered if maybe the trouble was camera based as opposed to a Kodak thyng. Either way hope it dosent happen again for ya ;) olly

What camera did you use? People should note that the neg stock is pretty tough on the older smaller cams designed with reversal in mind! Olly

I often do this with a Bolex on S16. I use a Tobin Timelapse motor which is specificly designed to avoid fogging (Dont ask me how but it's what they say and I never had any probs) I also often use my Switar POE zoom which has an inbuilt lightmetre! I can set up and walk away knowing that as the light goes (or comes) the lens is dealing with it, it's simple and effective. I've seen a few custom designed intervalometres out there that control shutter speed and exposure according to light levels (like Nizo's Auton' B setting on S8) but never commercially available ones? Olly

From my experience shooting Pro8 stocks (neg cut downs) and having them transfered to video tends to come in at a similar price to doing the same on 16! IMHO Olly

I recently had film transfered to both Mini DV and Digi-Beta. we got an EDL from the DV copy via FCP3 and then had a friend who works for a television company perform an uncompressed online on Avid from the Digi-Beta..... The EDL worked perfectly apart from a few scenes we'd really messed about with, he just re- cut those as closely as possible, turned out great. I agree with GeorgeS that the mini DV copy seemed to get far grainier whenever we made copies. It was a cool way to get a decent master, cut at home on Mini DV then work out a way to get an online done from the DB master (matching timecode ofcourse) when funds or freinds are available. Olly

I shot my graduation film on a BL. It was all that was available to me at the time and even though cameras I've used since make me laugh at it's difficult "tank" like size and weight the end results were as good as anything else around.... As long as your lens and batterys are ok you will be fine. I'd go with that over a Bolex or Scoopic anyday for large sync sequences.... For a start the motor is crystal sync as is (I believe?) and compared to a bolex it's much quieter (BL stands for Blimped I think!) Olly

I shot a short with this stock and loved it (After David compiled a list of features shot with it for me!) It was on standard 16 though so the grain got a little overwhelming at times but it was for a Digi-Beta master so it wasn't so bad on the small screen. It's the pastel colour tones that really do it for me, but we ended up pumping up the colour a tad and the low contrast high satturation combination gave a lovely dreamy soft atmosphere..... Olly PS just saw "Gerry", stayed with me long after it ended, luminous imagery.

I use a black n' white CCTV "lipstick" camera simply taped well to the Bolex eyepiece for a video tap, (looks a bit strange but works for non critical framing etc...) I use a 12mm lens one as my cam is S16 and it fits the frame perfectly, It plugs into my Mini DV cam which I can use as a monitor and even record the sequence! Very cheap but quite effective olly

I use a black n' white CCTV "lipstick" camera simply taped well to the Bolex eyepiece for a video tap, (looks a bit strange but works for non critical framing etc...) I use a 12mm lens one as my cam is S16 and it fits the frame perfectly, It plugs into my Mini DV cam which I can use as a monitor and even record the sequence! Very cheap but quite effective olly

www.widescreencentre.co.uk Hope this link works, check out the Iscorama -54 16/9.... It is very big and covers most zooms but needs a bracket to hold it infront of the lens, However listen to David, with the new slow speed stocks grain is vastly improved so a 16/9 crop of standard 16 looks pretty good! hope that helps Olly

Hi, David Lynch's film Blue Velvet has been influenced by Edward Hopper paintings along with countless other films. The 1990 film Dick Tracey with Warren Beatty has also referenced Edward Hopper. Hope that helps.

Wow! This is great reading, thanks David; Most importantly though, did you get a steak sandwich from Pat's or Geno's??? ;) I like Geno's coz they use the white cheese..... It's interesting to read about the mixture of stock being used Fuji\Kodak I always wonder how well they intercut? Olly

Hi, Personally I recommend the Sekonik Studio master 2. It wasn't the cheapest in the shop but there were a lot more at much higher prices! I find that it does the job just fine and still won't break the bank. In the UK it was purchased for £120, I think that is around $215. Rach

Dont take this as a "pro" Moore stance but I think that is exactly what Moore was pointing out, the fact that the NRA had appointed a "Clearly senile" old man to do their PR, if Heston is a leading authority on the politics of the NRA (as his public speaking suggests) then he is the man to question on matters concerning the organization he represents, senile or not! I couldn't stop laughing at the madness of the situation..... Olly

Dont take this as a "pro" Moore stance but I think that is exactly what Moore was pointing out, the fact that the NRA had appointed a "Clearly senile" old man to do their PR, if Heston is a leading authority on the politics of the NRA (as his public speaking suggests) then he is the man to question on matters concerning the organization he represents, senile or not! I couldn't stop laughing at the madness of the situation..... Olly

I know of www.cameraspro.com

Thanks Mitch I will certainly do that, how good a representation would you say the lens coverage gives at 16mm from T5.6 and smaller when simply looking through the reflex finder at a bright sky compared to actually viewing results on shot film? Just wondering as to my eye it seemed fine...... Olly

Hi this is for anyone out there who is interested in the Les Bosher Bolex conversion to S16; I just got my RX-5 back today complete with a Les Bosher matte-box system and New bayonet hard front. Les did a stunning job and even managed to keep the behind the lens filter! (very tough with a new front end usually) The really nice thing is my POE 16-100 seems to cover S16 without any corner darkening at all so that makes a fantastic zoom lens option for these cameras as they are very cheap but very decent! If you've been wondering about conversions I would highly recomend Les, it took a while as he is very busy but I don't think I could be happier with the results.... Take care everyone Olly

I believe 28 Days was shot with many standard def XL1's! But some major post image work was done, I'm not that up with video but I would think a low contrast filter could help alot with blow out. Olly

Some people would ask that price just for the POE 16-100 lens alone....

David; In relation to filters how did you achieve the halo's in Northfork? It was a while back but I remember James Woods and "Willis" walking into an interior and a lovely Halo appearing in the highlights, Does my memory serve me correctly? Just interested about different ways to achieve them? Thanks Olly