Grainy

good deal - thanks for the tips Paul!

hi guys - I'm thinking about a shoot this winter already and the plan is to get our moving shots (driving through neighborhoods) by pointing the camera out the window of a moving car. Simple - but I'm worried about frost/condensation and temp variables between inside car and outside snowy tundra. Shooting regular old tri-x Any tips? thanks G

-- Tim, just to clarify something probably obvious, but are you suggesting camera owners simply frame for an Ultra 16 output, to be done in the lab, rather than modifying their cameras? thanks G

Best wishes, John!

Hi all - I've been on this list for a couple years now and my day job is working on Security for a big big software manufacturer. It's basic basic online safety procedure to at least provide the OPTION not to use your real name. Why do you think this is the status quo across the online community? C'mon. Really now. And it bugs me that you just erased my post, Tim. Grainy

excellent, thanks Mike, I sent them an email straighaway. This forum is indespensible! G

Hi there Does anyone know where I can get a replacement bulb for my eumig 604 super 8 projector? I guess I knew this time would come someday, but the eumig has been a total tank (especially compared to the pawn shop special I had before it) and I just bought a reel of triX to make a movie of my kids at the beach. Tonight, before we left, we were going to watch the movie we made a few years ago, so they could see how little they "used" to be, but now... nothing. My wife suggested I just show some movies I shot on my digital still instead. Jeez louise, is there no hope for my beautiful movies? ?

Hi there This site can help you ID your bolex http://www.city-net.com/~fodder/bolex/history/index.html The reflex viewfinders are kinda hard to get second hand (why would you get rid of it?) , but you can either try buying another bolex for parts off of ebay, or you can go the expensive route and contact someone like Chambliss (not sure if they have a website or not), they're the US dealer in Bolex and they're expensive, IMO. I've never tried this guy but he seems to have lots of stuff: http://www.igorcamera.com/motion_picture_equipment.htm good luck G

Okay, good to know. I've been using the digital to suss out urban night locations for b/w filming to see if how close to minimum acceptability available light is, but I guess come shoot time there's still no real shorcut for a light meter. thanks! G

Hal - is there a way to set up a digital still to reflect negative film by adjusting iso, shutter speed, or the like? thanks! G

Hi Harry -- Yeah, in this case, that's part of the intent, actually! Which is fortunate, because we can't afford go-motion motors or any of that nutty stuff ;) Thanks G

hi folks! I'm working on a project where I'm using a bolex and double exposures to have a stop-motion animated puppet on one side of the finished frame, and an actor on the other side. We're shooting the actor first with the lens blocked off on the left side, then rewinding and exposing on the right side of the film, frame by frame, to animate this little puppet that reacts to her actions. Anyway, my question is, will the lighting needs be different with the stop motion when intermingled with live action like this? Is there something about exposing one frame at a time that'll make it not seemlessly blend with the 24fps stuff on the other half of the film? thanks! G

hi there this site has a massive and I think complete database of bolex models: http://www.city-net.com/~fodder/bolex/history/index.html good luck! G

Those portable lights are what I was talking about. I picked one up a couple years ago -- it claimed to be a "million candle power" but it was jsut an ungainly, ordinary flashlight. Maybe I got the wrong brand... G

Any idea what the brand name/model is, Matt? I've gone hunting for lights like this, then get in the store and they don't seem to give much information on the package about the actual product (ie: "powerful beam for up to three hours!!") Thanks! G

Wow! This seems weird, but I guess it's kind of a great idea... I switched to Forde during a shoot after disagreements with Alpha, who had a rep *at the time* of treating 16mm projects haphazardly. This was a few administrations ago for Alpha. But they've always had a size advantage and a rate advantage over Forde, so now hopefully this'll come out good on both rate and service ends for filmmakers. Grainy

this is good stuff, takes a while to get to the punch line if you're looking for something specific, but the info's all there and dealt with realisitically instead of in the flip, curory way that's too common online these days. I'm working on a film that uses LOTS of public domain images, have talked to the free legal council for the arts folks here in Seattle, and this all jibes with what they've told me. G

hi - some nice stuff here, particuarly the b/w, but I'd make this shorter, get it down to a minute or so. Also, on my monitor the low light stuff looks almost totally black -- probably not how it looks in optimal conditions but consider that your medium in this case is a monitor. Not sure why you need specific music, but there are a few things to consider with music. You could consider using music that's in the public domain. if you're outside the US (.de?) you should look into your country's copywrite laws on music and look carefully. In the US almost nothing is in the public domain, even works written before 1923. That said, you can often liscense music for one-time or low/no broadcast use such as in a demo reel. Finally, there are loads of student composers out there offering their stuff for free/cheap, do a search on public domain music. best of luck G

That clarifies it for me, thanks David and Eric! G.

Hi, couldn't find specifics on this on the site but I was checking out the sundance web site for last year's digital projection formats and they say "As a reference point only, we have projected digital in the past in HD CAM format, Non-Anamorphic, and 1080i/16:9 60i" How does this translate in terms of what kind of media you can submit for digital projection? Or does it? I guess I'd assume a digibeta tape would fall into the standard somewhere for digital projection, but does it? thanks much! G

hey there, not sure whether you want to use super 8 just to "learn" or to make a film that you want to send out for other people to see -- but there's only two people that I know of (no offence Rick Palidwor) that've been able to make movies on super 8 that actual people see in actual theaters, and that's Neil Young (Greendale) and Guy Maddin (Saddest Music in the World and a few others). Notice that those two people have one other thing in common: they're already really well known (well, Maddin is in film buff circles, at least). Pragmatically, unless you've got a really good reason for shooting in super 8 that a distributer will embrace, they'll probably shy away from spending the 50k + to blow it up to 35. If you're hoping to shoot on super 8 for 35 blowup check out these films on DVD but also in the theater if at all possible. Maddin's from canada so they could have a retrospective in toronto. They look very cool but are also very grainy. That said, I've shot super 8 for years and love love love it for my own use. Grainy

Maybe, but it's not the future of cinema. The shared experience of going out to a theater and seeing something with a group of people in public is different than watching it at home. Not better/worse. But definitely different. That's why there's still painting, theater, radio, and sculpture when we have photography, TV, home stereo, and laser-guided manufacturing. -- good luck G

I was really impressed by Primer. Maybe this isn't the forum for it, but I thought the shooting was "fine" and the production design very compelling. It didn't bother me that I didn't get what was going on. It's about time travel. It's going to be confusing if it's convincing. I found the whole thing very mysterious and a total home run for an indy film, especially in today's market where it seems like the ideas are getting recycled ad nauseum and gruesome rules the day (hostel). G

Oh, good to know. thanks Ian. G

Hi all -- I did a search and was surprized to find nothign on this (maybe used the wrong keywords). I'm wondering if anyone has tried in post to replicate the hand-colored look (not just tinted a single color) like you can see in the ball scene in "Phantom of the Opera" or more recently, in "Lumiere & Co" (the bit with the dancing woman I think was hand colored). I'm thinking three or four colors, probably on top of a base tint. Is this the kind of thing that can be done by computers these days, or is it something that can be only be done PAINSTAKINGLY by computers? thanks much Grainy