Nate Downes

Hey, good to see you're elsewhere on the net as well.

IIRC, The Technicolor company is handling dye sublination film prints again. Don't know if anyone has the 3-strip cameras anymore. (if anyone knows where a working model can be found, let me know. I'd love a chance to shoot on it)

Let me see: Keystone A-7 16mm B&H Filmo 16mm B&H 200EE 16mm custom 16mm camera I built for stop-motion work. Vivitar 84 Chinon 806SM Chinon 1206SM My Chinon's are the highest-end cameras I own, and I love them to death. I own a Sharp Hi-8 camera as well, but it collects dust atm.

@Phil Which models? I own a Pegasos II, the latest model produced, and it does not have the ability to change refresh modes to the point of being able to synch with a TV signal. The loss of the custom chipset has killed this ability with the current crop of Amiga-compatible computers.

An option if you want to "get your feet wet" without a heavy capital investment might be to purchase a second-hand Super8 camera on ebay and a few rolls of film. Would get you the know-how in the basic differences in lighting, makeup, and framing when you switch from video to film, and would not cost as much so that after your crash-course you will know better what you will need for going to 16/S16.

Hmm, interesting thought. I've never given it any real thought before, but I can guess how they might work. Combine a variable-rate motor with a gate-count regulator, and then the gate-speed would then set itself to the motors governor, the resistance would then speed-up or slow-down the motor as the gate count went up or down. It's ancient technology, the early steam engines used a similar system for regulating boiler pressure.

Yes, but the later Amiga's lost the very ability I mentioned, namely the ability to change refresh speeds so as to allow a synching up with another system, such as film. I'd note, modern Amigas (such as the brand-name holding AmigaONE or the 3rd party clones Pegasos and DraCo) use off the shelf PCI and AGP video cards nowadays.

I use Tri-X B&W film, and push process it. The result is quite grainy, but it is viewable. (good result if you're trying to get grain, as I was in a case a week or so ago)

Yes, Kodak has done wonders in their PR handling as of late. I am about to order a few reels of Vision2 Super8 for the annual timelapse project next weekend, and am excited to see the results.

Another option for shooting TV is to "cheat" a little, and run the TV at the film's frame-rate. The Amiga is well known for having this capability, to change frame-rates down to the point it will synch with the film camera. you're dealing with low-color computers tho (256-colors for the last gen Amiga, 64-colors for the earlier models) unless you're willing to shoot it one frame at a time (HAM modes allow for more video signal than a standard TV screen can produce). So the trick here is to get an Amiga w/ Amiga monitor and then lock it to your film camera's synch.

Am I the only guy that thought this topic referred to putting a bullet into your TV screen due to a badly done TV show or made-for-tv movie?

That reminds me, can any movie films be processed using C-41?

Not a good way to get even results unless you are going for the hand processed look. Check out my movie processing webpage at http://www.geocities.com/gselinsky for info on how to do this. I have a lot of stuff on there. - G. Should I mention here that I work with a mini-lab for my day job? (plenty of chance to practice) I know that it is not easy to do, but I would like trying it just to say that I've done it.

I'm getting practice developing B&W Super8 film by hand, to avoid the whole cost of development issue. And I've been messing with a way to get the image into my computer. It's slow, but it does the job.

I did, actually. (only time I've seen Ebert since Siskel died, actually) Which one of the members were you?

Ok, whenever I get a decent budget for a movie (the fact I've not yet done a movie notwithstanding) I am definately going to shoot it in 70mm. I loved hitting the local 70mm super-screen when I was younger, and miss the crispness. then again, I'd love to see Maxivision48 take off as well.

As I said, I understand the reasons why. I prefer to seperate video and sound anyways.

Ok, let me clarify: Car Infomercial, one of those sunday-morning half hour "this is paid programming" segments. Nothing I am proud of, frankly my camerawork stank on it. The eyepiece was not what the camera actually was recording, the framing was all off, I kept overexposing the shot, which doesn't work on videotape too well.... the most I learned on it was that I do not trust vidcam eyepieces so for any video shots I'll use an external monitor to handle framing. I kept framing with film in mind, letterbox, and a half stop overexposed to get better color results as one would get using film. Until that day, the only video I'd shot was some dumb things when I was in high school, some 5 years earlier. The majority of my experience was on film so I treated it as a film shot, and the results are abysmal. But then again, I'm hard on myself for any of my shots. I always think how I could have done it better.

Not the best, just two commonly used stock options. I've seen good results with Ektachrome, the B&W stocks, and Pro8's stock. Also, I'm eagerly anticipating Vision2 from Kodak.

I know that I'd enjoy a prestriped Super8, or Kodachrome 200 the most. Of course I know that sound-striped Super8 is not necessary, and the audio is not exactly high-fidelity, but it would simplify my shooting that's for sure.

The mention of 65mm reminded me of a question, does Kodak still make 65mm or 70mm film? And if so, where could one find the cameras? Back to Kurosawa, the first film of his I saw was Ran, in my cinematography class in high school. We ran through the movie with the sound off, then sound on, to compare/contrast the visual with the audio. One of the most magnificent achievements of filmmaking. I also enjoyed Seven Samurai, and agree that it is one of the best films ever made. I also enjoyed the Hidden Fortress and Dreams, but sadly have not given time to Kurosawa's other works.

best way, get some short-ends and shoot some test footage. And there is an adaptor that will allow a 35mm SLR lens to fit to a 16 or S16 camera.

I'm under NDA, so I can't. However, I can mention that by the end of the year you can purchase a G5 without paying for an Apple-badge. A company in Germany called bPlan already produce G3 and G4 motherboards, and have announced the development of a G5 based motherboard.

I have a website, but nothing prepped for the internet (nor anything I'm really proud of, doing car commercials to pay the rent is not what I'd classify as high-class work).

Ya know, I wish that they made higher-bit-depth CCD's. 8-bits per color is not enough for a lot of the work I'm doing.