J. Anthony Gonzales

Thanks for the link. I think a company named Zeller makes them, but I have not been able to find any info on them. I'm just wondering how quiet these are? John G.

My Immortal by the band Evanescence. I've seen this video a few times and it looks absolutely beautiful. Does anybody have any tech info on this shoot? There is very short "making of" video at MTV.com. Not sure of the camera, small mag, probably a Steadicam mag. I'm curious as whether they shot on B/W stock or drained color out of color stock in post. It almost looks like B/W Reversal! Any info on this project? Thanks, John G.

I came across the availability of a 1200' mag for Arri SR2,3's at Keslow Camera in L.A. Has anybody ever heard of, seen or used one of these babies? Up until now, I was only aware of 1200' mags being available for the 16BL and a Mitchell mag for the CP16's. John G.

Bruce: Do the magazines need to be converted too?

David M.: How did you go about shooting the Super8 footage for Twin Falls Idaho? John G.

Thanks for all the info. David: So if you use a 5-blade shutter projector, you don't have to worry about pulsing or using any sync hardware between the camera and projector? I've seen a few 5-blade projectors on eBay recently. That might be an option if I can run the camera and projector independent of one another. John G.

Any advice out there on shooting a projected image? I will be shooting 16mm film projected and rephotographed onto 35mm. Besides brightness, how does the distance of the thrown image affect photographing it? Is it better to use a 45 angle set up, much a like an optical box? Or is close as possible to straight on better (as long as lens angles are equal)? What about frame-by-frame versus running projector/camera? How easy is it to keep sync between the projector and the camera? Any projector/camera combination and hook-up suggestions? David M., I think I read somewhere that you did some rephotographing for Twin Falls with the Polish brothers. Any advice? Thanks a bunch, John G.

I know that the Aaton A-Minima takes the special Kodak 200' single-perf spools. But can you run double-perf through this camera? If I were to spool stock myself onto flex spools, can double-perf stock be used? I assume it would, seeing as the normally it pulls down on just the one perfed side, but if you run double-perf through it, is there a chance of it crapping out because of mechanism catching or ??? Thanks, John G.

I agree with Mr. Nash. I think an off-topic category is actually a good idea. If the term "off-topic" is off-putting to some, maybe you should change the name to something like "community forum" or something. We can all discuss the various aspects of cinematography in the meat of the forum, but it's nice to be able to talk about things other than cinematography with cinematographers. We all can't gather each week for drinks, so this is like the next best thing. John G.

Thanks John P. The stock in question is 16mm. It is older double-perf reversal print stock 7390. My friend has devloped it with a mock-E4 process using E6 and R3000 chemicals for a reversal print. He also tried color negative chemistry and the results were a very much blue-violet cast print. That would make sense as explained in your post and the need for a heay orange/red filter. He also developed as black and white, but he did not detail the results. John G.

Has anybody put Print Stock through a camera? I have a friend back east who has quite a bit of older Reversal Print Stock on hand and he has shot a few experimental short films with it. Hand processed, of course. He has developed it as negative and positive color, as well as negative black and white. I have not seen any of his footage, though. He has offered to sell me some rolls dirt cheap. What is the viability of shooting with print stock? I know you pretty much have to be in BRIGHT sun to shoot with it because of the technically low ASA. I was thinking of a few projects I could embark on. And anybody know if there are labs out there (LA area) that will experiment a bit? I was thinking of shooting a bunch of 50' tests at various speeds and hopefully finding a lab to run a number of development tests. My friend says that color neg comes out the best (much like 60's/70's doc footage). B/W sounds enticing. Anyway, any thoughts? John G.

How about a continous motor for the K-3? I agree that trying to shoot sync sound might be a bit of a stretch, but is there some way to mod or hook up a motor to the K-3 that can make it run longer than the 25-second wind up? John G.

Very cool. Thanks for the info guys. On the experimental front, what about mixing MP negative with still film negative? Can you workprint and conform still negative with MP, or should you go with an IN for the still stuff, then workprint that? John G.

I know this is a cinematography forum, but since we are all filmmakers here, I thought somebody might have or can lead me to resources. I will be shooting a film this fall and will be cutting on a KEM. I will be cutting film because I own the machine and I have all the time in the world to edit. (IE. Telecine/AVID/FCP is not an option). I cannot afford 35mm mag. So my options are either cut 35mm picture to 16mm sound, which the KEM can do and I can afford to cut 16mm mag OR I can go the "magless" route. Ideally, this is what I would prefer. So my question is: I have heard and read that you can sync up a digital recorder/dubber to a KEM. What I would like to do is sync up a couple of Tascam DA-88's or even an AKAI DD8 (if funds allow). Now, each of these recorders use a 9-pin RS422 for BiPhase sync. My KEM Universal has a 7-pin out (it is currently driving a digital frame/footage counter). So how does one hook these puppies together? Is there a simple adapter? Do I need to wire in a 9-pin port on the KEM? Do I need a BiPhase interface box between the KEM and the recorder? If anybody has any experience or info on this, or can recommend a contact who could help me, I would VERY MUCH appreciate it. Thanks, John G.

In the process of conforming negative, is there a general rule as to cutting together different film stocks? If you have more than one filmstock for a given film, do you need to AB roll the stocks or can you splice two different stocks together on the same roll? This may seem like a naive question, but then, I am a little naive on this topic. Thanks, John G.

Does anybody have experience or knowledge in tranfering computer graphics to film? Specifically looking for a low-budget way to "shoot" an interesting title sequence for an indie feature. What hardware would be required to get a decent to brilliant looking title sequence from desktop to the screen? Looking at a combination of B/W photography and titles with the possibility of having titles super'ed over photographs. I am thinking of using Photoshop and Illustrator to generate the frames. Software: Will Adobe cut it? Hardware: Desktop needs, i.e. graphics card/monitor resolutions? Transfer: Best way to transfer out: Quicktime to DVD or ? Has anybody used Flash to genereate computer graphic sequences? Where: Any recommendations for decent transfer houses/labs that can do the transfer? Any input would be great. Thanks, John G.

Is Std 16 the same dimensional ratios as 35mm? So basically, one could shoot Std 16, blow directly up to 35mm which is just an X times enlargment? And if one aimed to project at 1.85, or 1.66, then you would just compose for 1.85 while shooting and when blown-up, the projector mask would be as normal? John G.

When blowing up from Std 16 to 35mm, is there any cropping involved? Or can Std 16 be blown up straight to 35mm, it being just an X amount of enlargement? John G.

Thanks for the great info. Do you know of any other pictures shot in the 50's that mixed b/w and color? John G.

As far as technique and style, would Oliver Stone and Robert Richardson been able to shoot JFK in the 1950's? What I mean is, would it have been possible to mix formats and film stocks, 8mm, 16mm, 35mm, B/W, Color and release it? Also, what film stocks were available in the 1950's? Is there somewhere I can view a near complete list? John G.

You can do a technical search at IMDB for "16 mm" and get a pretty exhaustive list of 16mm productions. http://us.imdb.com/SearchTechnical?for=16+mm John G.

In another topic, somebody was asking about using daylight film indoors without a filter. I actually have a question that is just about the opposite. How close are color filters, such as Chocolate or Tobacco, to the 85 filters? Peter Deming ASC has used a combination of Chocolate filters and Fogal stockings on a few of the films that he shot. Is the general look of the film going to carry on by shooting on tungsten film outdoors as well with just the colored filters, or would one need to add an 85 filter on top of the colored filter in order to have consistancy in the look of the picture? Thanks, John G.

I didn't see "The Man Who Wasn't There" in the theaters, but I have seen in on DVD. It just wasn't quite the same as real B/W stock. To me, it just didn't look "real", or maybe it looked "too real". On a T.V. screen, it looked very much like hi def black and white video. It was just a little too clean for my taste. A better term may be too "modern". Especially as a period picture, I just could not believe I was looking at something taking place 60 or so years ago, regardless of the wonderful production design. Another issue I have is in combination with the too clean/modern look, was the sound design. Again, it was just too good. It didn't bother me as much in exterior scenes, though. I can sit and watch a classic B/W picture shot on wonderful PlusX/DoubleX type stock, with a good old analog/mono soundtrack and you can take me anywhere, from 1890's France, to the Moon, and anywhere between, and I am there. Maybe this is just me. I don't know. I do agree that an Ansel Adams photograph can literally take your breath away. But once you put these photographs in motion, the ethereal and transcendatory images become too much here and now. John G.

Let's move to black and white versus color in S16. I know that b/w and color are different animals, butas far as blowing up, grain, sharpness, if you could equate the 7231 PlusX neg stock to a color stock, what would it compare to in color stock? John G.

Does anybody know if 2-perf Arri 2C's, or other, are available anywhere in Southern California for rental? I've searched a bit but haven't come up with much, for rental, sale, or otherwise. OR, anywhere in the U.S. that does 2-perf conversions for Arri 2C's? Thanks, John G.