Keil Mitchell

Yeah I've seen them on ebay every once awhile for a high price, thats why I was taking a shot in the dark and seeing if anyone had some dead ones laying around but thanks for the other leads. I appreciate it

Hey everyone, A friend of mine bought a cp16 without a battery. He was able to build a battery but it's not as portable as we would like it to be so does anyone know where I could possibly find cp16 battery cases as well as A/C chargers? The batteries don't necessarily have to function as I plan to recell them.

Yeah clearly I'm overthinking. I'm just of fan of formulas.

Yeah, but now you should try to get your hands on a DS8 camera and process that as 16mm for a nice split screen effect. Anyways, If you were to load any other film into that cassette just calculate the footcandles needed for f/2.8 as we did so with the vision 200T, then calculate the footcandles needed for ISO 64 and ISO 40 to find the difference. That will give a basis for compensating. Either way, unless you load film with an ISO of 64T/40D, the camera will automatically overexpose your film. Depending on the film's ISO will determine how much that overexposure will be.

Right on, sounds like a good plan. Have fun!

Mr. Burke and Mr. Dunn have given you solid advice/resources that I'd like to expand upon. I would consider investing in one of these http://www.tiffen.com/displayproduct.html?tablename=filters&itemnum=5885B rather than trusting the internal filter. Unless your camera has been recently serviced or was very well taken care of, there is a possibilty that there are some scratches or dust stuck to the filter and it would be a shame to discover that after spending your time and money shooting your film. I'm also not a fan of automatic exposure but I realize it works for some people; however it seems like you need some peace of mind and the only way you're going to get that is by knowing how to use manual exposure. To be honest, I've never shot 200T, so I hope somebody else can correct me if I'm wrong but I have heard that it's best to overexpose 200T by one stop. Adding your filter would make the total overexposure 1 2/3 stop. Now, the shutter angle of the canon 814E is variable so you need the chart to give you the shutter speed, which you can find here http://www.mondofoto.com/manuals/canonautozoom814electronic/ Let's imagine you're using the open setting on your shutter at 24fps, which gives you an exposure time of 1/58 second. Using the exposure formula (25xf-stop²/ISOx1/exposure time), so if you use f/2.8 with your film stock we would have 25x2.8²/200x1/58, which (if my calculations are correct) would give us 56 footcandles, therefore, with your filter and overexposing the film you would set your f-stop at 1.4 with 56 footcandles. Then you simply double your footcandles for each stop (112 for 2, 224 for 2.8 etc.) Now if you don't have a lightmeter you can rent them for a reasonable price, or if you have an iphone you there is a light meter app that is aproximate and it has worked very well for me in still photography. If you set the shutter speed for 1/60 and the ISO ate 200 on the phone and your camera shutter at open, then you just have to remember to overexpose the phone light meter reading by 1 2/3 stops. Edit: I realized I changed the ISO from 200 to 250 which is a big error and I apologize and I also included the exposure time 1/58 in the original footcandle formula which should only read "exposure time"

That was excellent and really inspiring! I think everyone on here gave you solid critiques so I hope you enter it. I'd like to add one more thought. Perhaps filmming some title cards on Super 8 as well. It's certainly not essential as you can see all of our responses don't suggest our involvement in the story was affected by your title and credit sequences. I just figured that you're in the luxurious position of being picky with a very nice piece of work so why not be picky. I'm looking forward to your next project!

Well sound design is certainly much more complex than dialogue and that is why I offered my suggestion in the first place. I haven't read any reasons to change my opinion in this thread and I didn't respond to your comment to try to change your opinion because I am not going to. I just wanted to clarify that I wasn't excluding different genres and an entire section of film history. Edit: typo

I don't mean to drag this out but I just want to be clear that I wasn't trying to suggest there can't be different kinds of film and that the history of silent films don't exist; it's just that when you use sound in a film I believe that becomes the most important technical aspect for the finished piece.

Your opinion vs mine. We're just not going to agree and thats cool but I respect yours and see where you're coming from

Watch a film with a decent story slick images but a shitty sound design and you have a shitty film. Watch a film with a decent story mediocre images but an incredible sound design you have a decent film. I'm not saying Matt's sound design was shitty by any means but this is just in response to your response and while this is cinematography.com, when we are discussing a film I think its important to weigh all of the aspects and I think if you start considering some of the more successful films it's their soundtrack that really carries the film. Matt you have a nice film and I'm looking forward to the longer version as well

And I respect that its your film and not mine so I never push my opinions in a critique but I still think its something you might want to consider. Its not difficult to mute your music track think about what you can do. I think you might find that in reality, relying on music creates a flat soundtrack and while this is conematography.com I think most people on here would agree that sound is more important than image

I would consider having no music in the background. If you have to achieve your desired tone through a backing track then that means you've failed to do so through your writing and pacing which I don't think is necessarily the case. If I were you, I would consider recording some folly for your super 8 footage and pace that throughout the dialogue to try and garner some sort of tension. My immediate thought watching this was to get rid of the music, this film shouldn't have music

Right on, thanks a lot for the advice. The problem solving that comes with film seems to be endless but I still don't see the fun in digital filmmaking. I'll look into getting a hold of that book. I figured Super 8 would just be a cheaper option to 16 but it appears that it has become a completely different monster in terms of syncing and lenses.

Thanks for the info on the Nizo. I've never used one and I understand that not only do they fit my budget friendly requirements but they are also well-respected cameras. It's just that I'm having a hard time choosing a fixed zoom lens over a c-mount camera that typically comes with a solid piece of glass. Glenn, how do you feel about the sound of the motor with the beaulieu? Is it worht buying and putting the time or money into blimping or do you feel that it would be a better option to save up the extra cash for a higher priced motor?

Thanks a lot for taking the time to reply. I find it really frustrating when crystal sync motors make that much noise. Do you think it's worth trying to get a hold of one of these or have you found better options? I'm in the beginning stages of trying to piece together a budget friendly sync-sound Super-8 camera.

I came across an old forum in another website talking about using a Tobin TXM-20Ba crystal sync motor with a Beaulieu 4008 and nothing more. The user only stated the motor cost $495 and it worked well not only with the beaulieu but also with other film cameras. Nobody really added to the forum as far as the noise level of the motor (believe it or not I have come across crystal sync motors that are so loud it is absolutely pointless to record audio) or where I could even buy one. After digging around on google I came up with nothing so I figured this would be a good place to ask. Does anybody have any information on this motor or other cheaper alternatives for crystal syncing the beaulieu? Thanks for any response

Footage looks great! Where do you process your film in Spain, or in Europe for that matter? I moved here a few months ago from the states and I'm just wondering if you have any recommendations?

Thanks for your replies. They have been very helpful. The scene is a couple walking into an unlit house at night so my goal is to match that look by having the moonlight from outside as the key. The way the rooms are setup I feel like the viewer will barely see the windows. Perhaps for a second or less. I'll be doing meter testing on Friday to figure out if I really need to buy nd filters at all or just underexpose and match the fill accordingly.

Thanks for your reply. The windows won't really be in the shot too much, maybe a part of them will be for a second. I just want to use them as a lighting source. I mean, I might not have the gel the windows but perhaps just underexpose correctly but I've been slow at learning the gray scale.

Hello everybody. My name is Keil Mitchell and I'm beginning to start a new project using Kodak's 16mm B&W Tri-X Reversal film. I will require an Interior night scene and since I don't have the means to set up lights outside the second story window I will need to shoot it as a day for night. I want the scene to look as though the key is coming from street lights and moonlight from outside so I figure using a red filter in the camera may cut down too much light and limit my options. I'm thinking about gelling the windows with either nd gels or red gels and using an Altman soft box and kino flo's as fill. Does anybody have advice or recommendations? Thank you for your time.