Jason Mann

Thanks Chris. That's a big help. I'll get in touch with both places.

Yes, Lindsay's my brother. Del was our grandfather (my dad's father.) He was a great guy. I can pretty much guarantee that it isn't footage from Marty, because it's in color. I suspect that at least one of them is a scene from "Love Leads The Way", a film he made about the first seeing eye dog. And another looks like it's from his Disney film Night Crossing, starring John Hurt. (I should stipulate that I'm not going to sell any of this or rip off the films' distributors. I just want my family to be able to see the stuff he saved, and we don't have a lot of 35mm projectors lying around.) Also, anyone want to recommend a favorite telecine house for something like this? Thanks for the replies so far.

My grandfather, who just passed away, was a director in Hollywood. When we were sorting through his apartment, we found a big stack of film cans in his closet. Some of these were clearly labeled (b&w home movies, assembled on big 16mm reels, maybe 1000ft each...) We also found several smaller rolls of 35mm film, most of them probably no more than 100-300ft (i'm guessing, many weren't even on cores, just wrapped in paper and a rubber band). They appear to be work prints, and are accompanied by clear 35mm film with parallel tracks in the center. I'm assuming that's some kind of mag stock? My guess is that these are scenes, or even individual shots, that were left on the cutting room floor. He didn't save that many, so they obviously meant something to him. I'd love to have them transferred, so I could share them with our whole family. So here's the question: Will a telecine house be able/willing to transfer positives (print stock)? I have always thought of telecine as a process reserved for the negative. Perhaps I'm wrong... Will a telecine house be willing to splice a number of shorter pieces together to transfer? (Will their machines even accept spliced film?) Lastly, please weigh in if you have an opinion on the format I should transfer this stuff too. I'd like, ideally, to be able to give it to my family in HD, since we'll probably all have HD sets by the end of this decade, and I want to do the film justice. But I don't want to waste money, either...

Yeah, I just got a D70 and took a trip to Africa with two of my brothers old manual lenses from his F. They looked great. The 50mm looked a tiny bit soft (almost pro-misty) and the 200mm magically became a 300mm, which is sweet when lions are around. Anyway, it's definitely possible and fun. That said, I want to get a Nikon film body so I can start taking some black and white stuff again.

I think the shutter is fine, it runs anyway. I don't know the year, but the serial number is 185740. Would that work for your friend? Lemme know, I'll try to take a pic or two for you.

Okay, both of you make a lot of sense, thanks. So how would you rate chip size as an important factor to consider relative to resolution and color/compression? Are my DVX's chips 1/3 inch? And David, good point about the possibility that Reel Stream will do this for the new camera too. They even hint on their website that one of the smaller HD cameras will be their next victim. Thanks, as always for the help.

I currently own a DVX-100A and am very happy with it, but I can't help being excited by the new Panasonic HVX-200 (or P2 or whatever it's called.) A $6,000 HD camera is hard to pass up. That said, I've seen the website for the Reel Stream Andromeda (http://www.reel-stream.com) which promises uncompressed 4:4:4 output from a DVX. I know this is a subjective decision, but can anyone influence me one way or the other? Isn't 4:4:4: uncompressed video actually better in some ways than DVCPro HD (which I believe is 4:2:2)? What would you do if you could choose between the two? And I aplogize if this is posted in the wrong forum, but it straddles the line a bit...

I have a Bolex H-16 reflex that's in rough shape. (It's a sad, sad Ebay story...) Some rust and lots of dings, but the motor still runs. Could be really useful for anyone looking for parts, especially since the interior seems much better than the outside of the camera. I would love for someone to get some use out of this thing, and I won't. Fifty bucks? Make me an offer...

I'm selling a Spectra Professional IV A light meter (it's green). It's in mint condition, used sparingly and carefully. Comes with spherical and flat attachments and measures both incident and reflected light. Includes a soft case as well. Asking $300. PM me with questions or offers.

I'm selling a .66x wide angle converter for my old camera (A Canon GL-1 I've since sold.) It will fit any DV camera with 58mm threads. The lens itself is made in Japan by a company called Raynox, and it is in pristine condition. I only used it a few times. For the most part it just sat in its plastic case. The case has a small crack that isn't serious, just cosmetic. I'm asking $150. Please PM me with any questions.

A low level of fog should give you some definition on the beam of light, but keep it really low. I've only used fog a few times, and each time it's gotten too heavy and then contrast has gone to hell. And that meant airing out an already frickin freezing stage in the middle of January. Not good times.

Hey Christian. I already posted here once, but I forgot to add me email address. It's jasonlmann@hotmail.com. Thanks!

I'm in too, if I'm not too late. Will you be posting the amount here?

You've already received some great advice, and I don't have much to add other than some basic stuff: Don't be cheap buying tape. Spend the extra buck and use the good stuff. (I've had zero problems with the Pana DVM63-MQ, even in pretty sketchy conditions.) Trust the viewfinder, not the LCD. If I move my eye a quarter of an inch one way or another while looking at the LCD, I can make a poor exposure look okay. While this makes me feel better, it doesn't help my movie one bit. I've never used a mattebox with this camera, but I can't count the number of times on the doc I just did that I complained about not having one. (Using a lot of polarizer. Wishing for ND, etc...) Oh yeah, and listen to folks on this forum (other than me). I asked a bunch of beginner questions here about nine months ago, before going to shoot a doc in Mexico, and every bit of advice I got was good.

I'm shaking my head and thinking of a very disappointing interaction I had with _______ from London, UK about a year ago. Bolex or paperweight? :angry: