Simon Jon Knight

Gregg does hit ona good point. If you can get an output from the stage mixer to record the audio, then you can just soot pretty much anything. Sync or not... as you can then just attach images to the sound. Even the least-serviced spring camera will stay in sync for the 5-10 seconds you'll stay on the singers lips for a shot. I challenge anyone listening to the music to point out that you are hearing a guitar play G-sharp and in fact the picture was of a guitarist playing C flat...! Have fun. SK

Hi Ian, Sounds like the best plan... Bernie at Super16 is very helpful but it's weighing up spending £100 sending a £100 camera over to the USA. As a UK man myself its a painful decision... Good luck.. Where are you in the UK? I'm Bristol-based.

I'm shooting my 10min short with an Arri 16S and recording the sound off my Sony Z5 HDV camera placed right next to the Arri. It's connected to an Atomos Ninja so the audio is PCM digital. Two directional mics connected to the XLRs into the camera and you've got remote audio with minimal/sufficient mixing. Also the benefit of recording video in ProRes HQ... 1 slate at each end and hopefully sync heaven! Maybe that helps? SK

Shoot indoors? Seriously... If you are using a rig of any sort so it's shoulder mounted etc, there are plenty of rain covers to be had ranging from cheap ebay ones (I bought one for my Sony Z5 and its fantastic and only about $30) - right up to your professionally (created for each individual model) from the likes of PortaBrace. (upto $300) The other thing to think seriously about is the humidity and condensation. It's gonna wreck havoc on your camera gear going from air con rooms to outside so keep it at the same temp as much as possible...! Regards SK

Unless you've already worked it out, and if so I apologise.. The infinity symbol as the little "8" laying on its side. Its the point of focus for anything over about 100 feet away.... Hope that helps SK

Hi guys.. Jean-Louis... Exactly, 25mm that was a silly typo! I am planning to use a rail system and swing-away mattebox with the Cokins. So then I can attach any length of lens. I could measure the lenses I suppose. The problem I was contemplating was I didn't want to go into a camera shop and "try" the stepdown rings and then have to leave as they are hideously expensive around here and I'd be ordering them off the net. So I was really just being lazy i suppose and i'm grateful for the people who took the time to answer.. Got to be honest I've had to Google the Series 9 system as I'd never come across it before. Interesting... Regards SK

I have three lenses on my newly acquired Arri 16ST. I would like to put some Cokin P filters (ND's and 80/85s) in front but cannot find the barrel diameters or filter thread sizes anywhere on the internet... Can anyone point me in the right direction or does anyone know the filter sizes for the following lenses: Angenieux 12-120mm T2.2 Angenieux 17.7-70mm T2.2 The third is a Schneider 23mm but I dont think it actually has a filter thread. The Arri Mattebox will do for that lens unless anyone has a cunning way to mount the filter? Regards Simon

cheers everyone. went away and got married so hence the delay! have the camera and ordered a bag so its practice,practice,practice.. regards sk

In my extremely limited experience but also quoting many from here... even non-sync cameras stay in sync for upto 30 seconds.. So if the sync cam shoots the general wide shots to capture most of the action, and then use the non-sync for cutaways and closeups/crowds etc as you thought. You'll never want any of those shots to be even half of the 30 second limit. Assuming you'll be scanning to a computer, something like a music vid is fairly easy to sync anyway.... good luck.. SK

Anyone got an up-to-date schematic of the 12v modification? The close up shows where the two capacitors go but not where the original wire went that is now attached to the resistor.. Anyone got any ideas..?? Cheers SK

Brian, Spoke to i-dailies a few weeks ago and they were VERY helpful. This was their email back to me: "16mm, we charge .24p a foot, however we have a minimum charge of £75. No problem and that we can crop to 16;9 on Telecine. As for super 8. We charge £50 per cassette, with a minimum charge of £100. We only process on Thursday mornings."

don't forget, you guys have access to and operate with film.. Most people who use this plugin have never even picked up a film camera. I have Red Giant's magic bullet package and it does wonders for the colour.. Good enough to be used on FX's Justified and CSI : Miami... But as you say... it's not GOOD film, just faking bad film. SK

Hi Gregg... ok, assuming i'm being a cheapskate and want a changing bag and not a tent, whats the size needed for a 16mm mag, film and tin etc? Or is just "large" the ones to get? They seem to be about 40 odd inches square which doesnt seem big enough? I'll be guided by you guys!! SImon

Valid point David... i'm thinking with my digital head on - I shoot as clean as possible and then color grade to get the "look" I want... As opposed to film where you create the "look" you want with the film and then add color correction to match shots.