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.

I can see this is going to be great fun... Thanks David for your thoughts... So much more to consider than put in the tape, press record and alter in post!

If you don't mind my asking David and established others... Do you add color correction in post using effects like magic bullet / looks / et al or do you rely on a good telecine-ist?

Thanks again... it's surprising how exciting it is starting down the film road at this time? Having a small amount of cash behind me means I can try things I couldn't if I was a film student and have the wealth of information available to me from people you guys/girls...

Simon K

thank you David...

A much appreciated answer. So you prefer to always carry tungsten and filter for daylight - rather than carry daylight and filter for tungsten...

Oh well, at least ive got the filters so can get myself out of trouble either way..!

kind regards

Simon K

Going on from Eloise's thread about filters...

I have some Cokin P 80 and 85 filters to put on the front of my lenses for the Bolex and Arri...

So my question is, IF you are going down the route of just filming grey cards with the stock in the mag and then correcting in post, do people shoot with tungsten or daylight? Is there a preferred 'direction' that color correctors like to correct? Does it matter?

Or is good practice to shoot with a filter and reload every time?

I will be telecine-ing through i-dailies in London but have Final Cut Pro and Color in my studio so can correct it later - using Magic Bullet for the tastier effects.... Should I ask i-dailies to color correct at all? As they will be cropping for me to widescreen from a taped ground glass is it too much to ask for color correct as well?

Thanks for your time guys and gals..

Regards

Simon K

MediaHound Films

Cheers greg.... Going to be using a Bolex with only daylight spools so thats ok.. I'm looking at an Arri 16s with 400foot mag so this will be my "nemesis" for the foreseeable!

I'll look into the Chinese copies as that could be a way to go... Absolutely agree with the lack of darkroom onsite..., silly thought.. As I said, new to all this. Its great taking a step back from the "clean-ness" of digital....

Cheers everyone...Practice it is....

SK

As the title says really? I'm new to loading cine film but used to loading stills film. Can I use a darkroom red/safe light to "practice loading the 400foot reels into the mags or must I use total dark and 'fumble' around?

Cheers

Simon

Hi Will,

Believe me, I think the benefits of Ultra over Super are immense. I just need to find someone over here in the UK or even close Europe, who might process and telecine it for me!

Regards

Simon K

+++ Sorry have just found the thread below asking the same rough question... Thanks for your time and sorry to fill the board +++

Hi Guys,

Simple question - am planning on getting a little Arri ST 16mm camera. It will need a service and check over. Are there any independent people servicing Arri cameras in the UK as I understand my camera is too old to be serviced by Arri UK? (serial 13945)

Cheers

Simon Knight

MediaHound Films

Sad but true, Ian.

Cheers for doing the leg work though.. In fact, you couldn't just call 'em all as well could you and ask?? (grin)

Cheers again

Simon K

In answer to Marcos original post and to agree with Freya..

You really should look at native footage shot on a camera. I have a trusty Sony Z5 and went from HDV tape to using it with an Atomos Ninja. The difference is incredible. Exactly as Freya says, the coloring in Final Cut is solo much better. You can shoot at nearly a stop slower and still pull tons out of the lowlights. Made the Z5 with 0.5 lux into a midnight wonder cam... Well almost.!

Best £600 you can spend on a small-bitrate camera... And you are HD channel ready should something you shoot get used!

Enjoy..

Simon Knight

MediaHound Films