Martin Yernazian

Just because the gate has been widened, doesn't mean that you can shoot 1.33.1, the only thing that you will be ignoring is the the other 33% of extra space, that's all

Michael I never meant to insult anyone, I just felt that we where getting somewhere that it was of my interest, for example how we can make a film on 16mm for under 10-15k, rest assure that this copy is just for submission to festivals, after that, yes I understand the cost of 25-50 grand for a 35mm blow up or an HDCAM copy it will be necessary to show the project at a respectable theater

Anyhow I want to wish everybody a great 2008

I agree with Tyler, Still, Javier if you feel that you are ready to make this film, go all in buddy, don't be a wuss like a lot people are , if you believe what you have is " the money" go on and make it, Like tyler said: video camera, film or a cellphone a movie should be entertaining. period

But I do disagree on something..... you have to be a jack of all trades, you have to be prepared for everything., as a director I have to tell you, that if my DP get's sick or my editor says good bye, well I can fill in perfectly and put one more hat on and kick ass.... ( with caution off course)

You have to be prepared and do your homework, there is also the problem where Filmakers, artist storytelles blah blah blah had all their lifes..... THEY ARE LAZY!!!! They get confy and in love with their own projects.....the more you fight that, the more prepared you are, the better army you'll have ( small or big) the better your movie will be.... but as David and other said, everything starts from the script, you can' make a great movie out of a crappy script.

And Michael and Walter.... the thread should not end, is now when is getting interesting, Filmmaking is about alot of things, including cinematography and this forum is here to help those to understand some parts of the process, and make contacts and etc etc etc. Please Allow us continue this conversation Thank You.

Happy Holidays everyone

Javier you need to call me buddy.....

Hola Javier

That Package looks great.... but there is one problem

You can't check it out before you buy it!

The Best way for me is the following

Buy a 16mm camera, one that you have personally checked out and you like and you know where the owner lives ;)

then send it to Les Bosher in the UK, he will do some awesome conversion to the cam, and there will be to your specs

after that you can buy stuff separetly and beef up the camera at your own pace

You will find, Super 16 Eclair cameras for under 5000

But the trick is to do the whole conversion from your pocket

You can buy a nice Eclair kit for 2 grand and then you send it to MR Les Bosher and he can do something like this.... that's my cam, hehehe

http://farm2.static.flickr.com/1281/740732...1cef32023_b.jpg

So my friend you better do a little more research and you can get a cam like this able to shoot a fine movie ( feature... yeah!)

That's a great point! and I agree, but we, at least me, live in the USA where you have so much money around that if you make a great movie, there will always be someone in there to put that money for you....

Carruth made a movie using shady business, I think he's whole things was, I made a movie, I won an award, moving on!!!

But still your point is taken, and I agree big time

I know, and I'm glad I did good, I hate airlines

I also hate wasting film ! :lol:

I just did

Hello everyone

If anybody has this lens and they want to get rid of it, I'm in the look out for one

Let me know

Best

Javier, primero, como estas?

I believe you could make a movie for 7-10k, not the final super polish cut, but one that you can send to festivals, and so forth, I know people that have won plenty of festivals with 2 features, one done for 5 grand on Super 16 and another one done 35mm for 13k, they probably lost weight, and a couple of years of their life, but they got their film done and they didn't screw anyone.... they did it right, now both of them work as directors in their countries

The reason why he is not making another film I have no idea, why he didn't made money with Primer after all the success?, well I don't know any exact numbers, what I do know is that the film had to much baggage, to many people pissed at the production and their owner/s

One thing for sure Alex, that production wasn't 7000 dollars, and he shot way more than 9 reels of footage, some of the people that I have talk to were connected with the production in first degree ( I can give out names you understand) they stimate, between the donated time, gear, and film the whole thing would it cost him around 30-50k, they thing is he ripped off a lot of people in the way.

Now the question is, can you make a film on film for that kind of money ( 7-10k) ? absolutely , there is peoplethat do it all over the world all the time, the thing is that to have great quality you have to rely more in some key people or just yourself, that's were you have the "your kind of" gold and not the actual material gold that so many productions are lucky to have.

Got to learn to wear many hats and still look pretty ;)

Yeah well, when I heard what I heard I was so disgusted, I felt like flying to Texas and giving a beating., but come on who gives a damn, as you said Javier, we have our own careers

Let's keep moving!!!

For Primer, the whole 7000 grand is an actual partial lie, (I was investigating all this cheap movies and I was going to write an article and a thesis paper for Berkeley students eager to make a film)I have talked to several people that were actually on the crew (yes there was a crew) And Shane and his pals exploit the crap out of this people, their gear, their knowledge, their time, and their credit, there was actually a guy that DP for 60 to 70% of the movie, and then he left to shoot a commercial and they kick him out because they want it to shot a few scenes and finish the movie, after the were on hiatus for 2 weeks, meanwhile the guy put his SR2, Zeiss 12-120 , a lot of film and so forth.

The whole 7 grand legend comes out of what he actually spend to get the film out the lab:

he finish shooting during the whole summer of 2002, He Developed the film and telecine and color correct to Mini DV, so he can edit on his laptop, but guess what?, he never pays the lab. For 2 years the guy edit this movie and does the music and blah blah blah, he sends it to Sundance and he gets accepted, whoops problem! they ask him to give them a 35mm copy.

Now when you get into Sundance, there is people jumping to transfer the film for you, mostly and more likely if its a feature, ergo you will make some money to pay them back, in their case was New Line Cinema if I'm not mistaken, but hold on, he didn't have the film, it couldn't be re cut because first he need it to pay the 7000 grand that he owe the studio.

So his uncle, puts the money, ergo there is the only 7 grand spend from an investor, the rest were donations from his crew, the one that he screw later on.

Javier, you are on Luck I just moved to open my second office in theUSA in LA and I brought all my gear here , including my grips and my film/ digital cams

PM me you contact info, I will love to help you make this, if it appeals me off course, but if it doesn't I will appoint you the right people that will be able to push your concept forward

My Best Regards

Also nice trailer, that fast quick to the point, and even do I didn't get what the movie about, it has left me wanting more!!!!

good job

no Super 16 camera for less than 10-15k?..... I think you fellas have it a little bit wrong

My NPR ( body mags etc etc) cost me less than 5 grand and is a work horse with a pl mount installed by Les Bosher and last service by the man himself, with rods and a 4x4matte box,

off course you ask, well Martín, what about your glass?

Well that's when your job as a dp finishes and the producer= business man comes around, work a deal, find it, you can rent really decent glass for a couple hundred a week.... YEAP, you know how many movies are been done right now vs how many packages are sitting around ratio are we talking about?Holy CACA!

Necessity is the mother of invention, off course I will love to have some Ultra 16 glass by Zeiss to shoot my feature, guess what? for my next project I can't afford it, so what I do, I look at an alternative that will fit my story, a zoom, a good one, OLD and heavy? you bet, but, the glass is great and pretty unique for today's standards! you can find the 15-150mm Angie, (the fatty) F1.9 for 600 bucks on ebay and it will cover S16 and then you will get a 9mm Kinoptik or what the hell a Switar 10mm or if you want some crazy effect get a Peleng 8mm and you adapt yourself to what you have.

I know is not the way pro's do it, well, who cares? how many movies a year you see done by "Pro's", that you go " WOW that was great"? pfff, do it YOUR WAY, what ever feels right!, I want to see different movies, not the same thing over and over, Wake up people, most projects are more driven by their excuses than the films themselves, I don't want to be harsh but that's the reality

2) sorry, but I heard 10,000 feet for a music video/ short films? what the hell are you? Kubrick? or super rich? what a waste!!!, that's a 3.1 ratio on a 90 minute feature

Amigo let me tell you something you, can make a feature with that much stock, when you do a project like that, you have to rehears the poop out of yourself and your cast and crew, knowing the movie inside and out, a lot of people here are great professionals but most of them are spoiled by their big daddy employers, you, don't have that luxury, you have to work the buck to your best advantage

Get an ACL and you won't regret it, what it looks like is that you are trying to shoot your own movie, your own rules, Your own timing, etc etc

Then do it, planned out get good decent glass, and go shoot the damn thing, get it done

I will listen to Will, if you are shooting it, then practice, by the cheapest stock and practice for a week or 2, also that's how long your shoot should be like, Yes for a feature!

Time is money and you don't have it, Take things seriously, do your research, study what you are trying to accomplish, look up great independent films done this way, and study them, make them your own.

Sometimes in America people expect that things are given to them in a silver plate, that's why if you have money you have more possiblities, in your case, (and mine) that's not a option, you make things out of your own struggle, you become more nonconformist and you go get your shot, you become a cowboy , a maverick, like our film ancestors were before before becoming studio PC passive aggressives.

I don't mean to attack anyone, and if you feel offended then sorry but that's the way things are, you shouldn't feel ashamed, you work a different way, Cest La vi, for people like me, I believe that been a maverick will give me more for what I do and not for how much I spend. with Respect of course.

Get your film done, edit on a EDL system, do a one light transfer and as Will said save your money and Re Telecine with the actual shots you have already picked

Don't wait forever to get the best of the best of the best thing, because there is always something that will be better, so cut your losses and make your movie the best way you can with what ever you can afford, don't dream into having the best pro's or the best elements, more likely, it won't happen, at least not yet. Go into the basics and then exploit them

Make a great movie and then you'll see how many pro's will come to you!

and remember " it takes any idiot to spend a dollar, but it takes a genius to spend a penny "

Good Luck

Timmy!!! hey m,an I have emailed you a couple of times, no I have never change it

you can call me or email me, I will prefer to do voice related instructions or I will get lost hehe!

Thanks for that gift and all your help

Best

That is great man, I was call the aranda group in Australia, but I don't want to be killed, now on the upbeat, yeah imagine they could build something to my specs, or I could get a metalsmith or a crafy person to build me one, anyhow, here is a pic of my powerfull NPR

Michael you are right, that's how I have my NPR set up with the Aaton 54 Alcan motor, and it works awesomely, now I will love to know more info on that hand grip from the BL, I have been looking for a great hand grip to have more control over the hand held. Anyhow I will love to know the info

"Non orientable viewfinder"????? what are you talking about? you can get the angie viewfinder and it rocks! I have it and is pretty bright.

Now if you want a doc style camera, get the Aaton, just remember that everytime you need to overhaul that cam is an easy 2000! the NPR?

Is up to you?

ps: the Aaton looks cool, but nobody is taking a pic of you, you are at them !

how much money do you have ??? that makes a great difference, now I will follow with Tim's advice if you want to learn cinematography.

The NPR is not hard hold, ( it takes a little more, but I like that It, takes something extra out of me, and doesn't let me get comfortable and lazy)

Also the NPR is not hard to load, is probably one of the easiest cameras to do that.

I guess is all about tastes.

WOW WOW! Hold your horses about teh NPR, I have one, and is solid and sturdy, and it's pretty quiet to, the ACL is good, the Aaton's are great, but the NPR has its great things to, ( Variable shutter, lens turret, etc)

I have mine with a PL mount converted to S16, and it's like grabbing a Datsun 280sx and putting super charger to it, trust me it will put up some steam!

Best

Jeremy that looks great, but the trailer doesn't come across that well, the bottom line I have no idea what this movie is about and why I should see it, besides the great cinematography?

Best

I that's true, well I guess I will give it a try

Best