Trevor McClung

Ya, it sounds warmer and many artist prefer it. Especially me. What would you like to prove that we like it better? Are you trying to be a smarty pants? Why don't you do your own research with some head phones. If I said rock and roll is better than country would you have asked me the same question? I'm not sure if your a jackass yet. Can you provide some info or test' that prove that your not please.

I'm gonna get some Vision 3 and I'm overjoyed with the prospect and I wanna here from film lovers about what stock gets them going. I got the vision 3 demo but it just has 5219 (which I'm all over) and 5207. I'm gonna first shoot some 7219 with my Kinor. Yee haw.

I'm a former vinyl record producer and Tubes are still number one, 2" tape is better, Vinyl records are selling more today than 20 years ago and analogue recording hasn't gone away. CD's are about to die but analogue lives on. I think the reason is that you can't reproduce real life. Film will outlast digital and analogue audio will outlast digital. No reason to fear or fight it.

Film is what resembles our own imaginations more than any other medium on earth. That's pretty cool and that is all that matters to me. Digital is quicker but it's missing the mysterious look of film so I don't believe in it. Digital is also much, much more expensive now than film can be. 8mm is cool, 16 is awesome, Ultra 16 is radical, Super 16 is serious 2 perf 35 is out of this world and I honestly can't mentally handle shooting beyond that yet. Video isn't on the meter for me, I don't know why but I do know that very few people feel like video is cooler looking than film and those very few are most certainly lying or are delusional.

The way I like it is captured on analogue and transferred to digital to avoid generation quality loss. Film and tape have the warmth and organic life that feels right. That's why I asked about Brothers McCmullin because I want that good sound for as low budget as possible. Nagra was used on Jaws and that's the sound for me. Which Nagra I wonder? Is there any other tape recorders besides the Nagra 4.2 that will give me what I need? Is there a model Nagra that wont work for movie dialogue? Thanks

Douglas, THANK YOU. A double pass... That's bloody brilliant man. That opens up so many low budget avenues an my wheels are spinning. A double flippin pass. With a little engineering, trial and error, patients and machining a 4 perf cam could be a 2 perf cam. I'm thinking matt box, possible dual gates with upper 2 perf mask and lower 2 perf mask? Would replacing the gate between shoots be impractical as well as bad for the FFD? I'll work it out but that's the TICKET! Thanks a lot genius. You saved me thousands of dollars.

OK. Is the speed difference between 23.976 and 24fps noticeable? I think I have to shoot true 24 to insure the widest latitude of marketability. The only thing I don't know is what format it needs to be for TV. For instance, if I sell to HBO? Is that speed gonna be 23.976 converted to 29.97? Does 24fps have problems when converted to 29.97? I'm guessing not because of all of the movies on HBO. Maybe I'm reading to much into it and confusing myself but I need to know. 1. Are the movies on HBO running at a different speed than they were shot in? 2. What format do cable networks buy/broadcast, HD Tape, Digibeta, what? 3. Can someone confirm this procedure: shoot 24 then transfer to hard drive at 29.97, edit then export to tape for broadcast at 29.97 1080p??? Is that it? Thanks guys.

OK. They telecine house just said to shoot at 23.976 and 29.97 so now I'm going to be brave and eliminate 24 and 30 from the list of speeds to get on my camera. Or maybe I should get all four speeds to eliminate trouble in the future? The wise choice might be speeds 23.976, 24, 25, 29,97, 30 and 60? Should I get 8, 12, 48 or 60? I would use slo mo but probably not undercrank. Besides I could do fast speed on nle but slo mo suffers in nle so that answers that. What would be a better slo mo speed, 48 or 60? Probably 60 because I could always speed it up but it would take a bigger battery. Hmm I think I'm answering my own questions.

So it sounds like it would be best to shoot at the speed 23.976 on my Kinor 16? I can shoot 24 or 23.976 fps and 29.97 or 30 fps. I'm getting a crystal sync motor on Friday and must pick 6 speeds. I'm wondering if I should pick 23.976 and 24 as well as 29.97 and 30 fps? I had thought to pick 8, 12, 24, 30, 48, and 60 fps but now I wonder about 23.976. The telecine house said 24 so now I'm a little confused.

What is the difference? When a NLE system reads 24 fps does it mean 23.976? Or vise versa? Do I need a crystal synch motor to do both 24fps and 23.976? Is one or the other best for the 2:3 pull down or something like that? Help, please I'm about to pick the speeds to order on my crystal synch motor. Thanks

Thanks Tom. BLs I like it. I've never even heard an Arri. Never held one either. I would love to posses one. What price should they be at? What's high, what's low? Thanks Raf, I checked with Slowmotion. I remember them from back in the day. They've come a long way.

Hi Rafael. I purchased my first Konvas 2m from you about 8 years ago. Also a video assist you made. You do fine, fine work and you are a pleasure to do business with. I'm glad to see you're here. And Simon, you sure do know your stuff, thanks. Raf, I'll look at your cams, I look at your website a lot. I'm on a 16mm project now but as soon as I can I'll need you. I'm doing budget for part 2 of 3 part series. Part two is 35 2perf camera with Reg pins. Can I do this conversion myself in my machine shop? Is it better to buy it all ready converted? Will a local machinist be qualified to convert? Is it best to send a camera to a specialized 2 perf conversion shop? This is what I'll have to find out. Thanks guys.

Which cameras besides the Mitchell and Arris have Registration pins? Or which ones don't besides Konvas? The whole story is I'm trying to figure out the best low budget registration pin camera for 2perf conversion. Also can a Konvas be modified to have Reg pins? Thanks

My Kinor 16 1m has a turret and it's hopefully in focus, I want to make sure. What is the minimum service that I should get? If I have him check then that's one cost, if I have him do the service that's a higher cost. If I have him check and then do the service would that be both costs combined? If I pay for the service and it doesn't need it did I throw money away? (I'm sure he could answer but he's probably sleeping now and speaks Russian, plus I don't want to offend him accidentally). Anyway what is necessary service to insure focus that I can't do myself? What tools are used and how hard is it to do? Many thanks.

It's awesome to find out who is negative and bitter and who is innovative and positive. Super 16 was a diy thing that caught on, sort of like Ultra has. There was certainly negative people shaking there heads and name calling when they filed their gates. Boy were they wrong. I'm for filing the gate yourself and making your good r16 into a great r16 in 10min for zero dollars. Super16 is awesome but if your going to spend into the thousands then have a look into 35 2perf. PS. Professionals can be very negative sometimes. Don't listen to negative people no matter what, they are contagious.

1. Thanks! Is there a TV broadcast that's an MKH 416 to Nagra? Field recorders and mixers are cool as long as I can get the warmth in front of them. I believe digital is great for editing but I don't like digital cameras. Thanks for the advice though. To know what the exact chain is would be ideal so I could get the same or similar equipment then A and B compare them to mimic the mix. What do you guys use in your chain for TV broadcast? Thanks

Anyone know of the sound recording equipment used on 16mm features such as Brothers McCmullin or Leaving Las Vegas and such? Also what you guys use unless it's a secret. I'd like to know so I could imitate but also so I could hear for myself something that is broadcast on TV.? Any help would be super cool. Thanks

Wow, that's cool. Thanks. I'll try to explain myself better. I understand that you can't blow up U16 to 35 so you have to scan and then record out to film. So I'm wondering if it's better to scan u16 then record out to film or blow up the r16 to film?

Having trouble getting answers. Ultra 16 for me is a way to make R16 look better with a nail file and 2000 grain sand paper. I'm wondering if it would look better scanned at 2 or 4k and then recorded to 35 vs. a cropped blow up to 35 from R16. Super 16 would be nice but if I'm going to upgrade I'm going to 35 2perf so Ultra haters please don't beat me up. Thanks

Pardon me Paul or anyone with experience in U16. Would the 2k or 4k DI scan of u16 recorded back out to 35 look better than an optical blow up of R16? Secondly, can one project U16 in a digital theater from a scan? I read that 50% of US screens are digital projectors now but I don't know how they work or if that's even accurate.

I have two Kinor 1ms and I'm trying to connect a motor controller to one because the electronics don't work. The motor is fine but I can't figure out the wiring. It has two leads going to the sensor on the back and four wires coming from the sensor, two of which are connected to one output. Maybe I'll just have someone do it professionally but I'd still like to know what's going on with the wires.