Simon Gulergun

3 hours ago, Dom Jaeger said:

Make sure to read the manual carefully, it can be a bit confusing setting speeds on an SR3. 

Thanks Dom, yeah I’ve followed all those instructions. I’m in Norm and mode 1. Keeps resetting to 29fps. 

DP said the camera flew this past week, maybe it got knocked on the head too many times, or maybe I have. Will keep working at it

I’m at prep for a job this weekend, using DP’s personal SR3. Seems to want to go back to 29fps from anything else I try setting it at. Would like it to start-up at 24fps.

Any ideas?

edit: to clarify, I’m able to set it at 24fps after turning it on. However, upon start-up, it goes back to 29fps

Using my 1218 for a small shoot tomorrow and my 625G cell batteries are dead, which is a real drag because they're not easy to get.

Does anyone know if the manual aperture dial will still work without any batteries? Thanks

A friend sent me these photos from her set, I'm not familiar with exactly what's happening here. The other magazine is working fine, but not this one, Aaton XTR. Does anyone know? Thank you!

IMG_0964 copy.heic IMG_0965 copy.heic

@Sam Davisson Looks great, eager to be one of your first customers!

Congrats! One of my favorite cameras.

- The variable shutter is great for cutting down light, notches for a half stop and a full stop. Matte boxes and ND filters are generally rare use with a Bolex, so it's really handy. One thing to remember is that it's also cutting down the exposure time, so you go from 1/80th to 1/120 to 1/160. Your image becomes slightly sharper and movement has slightly less motion blur

- The shutter angle is 133deg, then there's an additional 1/3 stop loss of light from the prism, resulting in 2/3 stop loss. If your lenses say "RX" on them, they compensate for the prism light loss, so you would expose for 1/65 (at 24fps). If the lens is not RX, expose for 1/80 (at 24fps)

- Don't leave your camera wound when packing it away

- Mono No Aware (http://mononoawarefilm.com/) in Brooklyn has great prices for stock, processing, and scanning - a great community to get involved in

Please anyone correct any inaccuracies I may have presented. 

@Frank Poole share photos of your camera when you get it!

Working on my new reel, would appreciate feedback - this is a work in progress. Thank you!

https://drive.google.com/file/d/1RDAPQnJCpIZMptpTnGOWGyfxEQL6h3v0/view?usp=sharing

Does anyone have experience working for politicians in DC (US)? Either on an individuals media team, or a one-off gig?

It's a long shot, but there's a particular congressperson I'm interested in working for, and with no connections to that world - I figured I'd ask here. Thank you

I’m actually researching doing this for an upcoming project. Any idea how to monitor it?

I'm just hoping the SEC investigation doesn't trigger them into bankruptcy again

Nice, what's the price?

As a DP, how appropriate/to what extent can a DP offer their constructive criticism on a project that is being offered to them? What are some strategies people here have for navigating these situations?

With friends, I err on being honest - but where is the line drawn in more strictly professional settings? Let's say it's a script/project you really want to like, but you know it needs work.

20 minutes ago, Max Field said:

The average age on this forum is well above 40 trying to comment on what kids are doing. I'm on sets and productions with Gen Zers all the time and none of them even consider film for a second. Betacam and early CineAlta is the cool vintage scene to them. The only time I ever catch wind of someone under 30 shooting film is when it's for gimmicky skate-footy

16mm is still core curriculum at CalArts. Half our classes are film production on film (from A/B cutting to experimental hand-processing and contact printing) and half our screening classes are on film, from 8mm to 35mm.

I worked as a film projectionist, film archive inspector, 16/35 telecine technician, and TA for 16mm classes all at school. There is high enthusiasm for shooting on film, from short experimental works to feature length narrative.

Just to give a sense of what students are interested in. That said, many people come to CalArts specifically for our continued investment in those resources, whereas other schools have ended these programs (comparatively). 

I love both film and digital, and I greatly appreciate how Yedlin approaches the two. Yet I'll shoot film as long as I can afford it

Why so "cheap"? Seems too good to be true. Wish they were all in this price range!

@Dan Finlayson recommended making two proxies from the DPX: ProRes 4444 for grading and HD 422 for editing. Why the 4444 for grading? Why not use the DPX in DaVinci?

Thanks @AJ Young and @David Mullen ASC

Possibly on an overcast day though (100 fc), a 60-100w lightbulb would be visible? It doesn't need to be strong enough to throw on surfaces, just enough to glow. 

I'll give it a test

Realistically, are SFX the only way to have practical lights exposed "properly" in a day for night scene? Exposed as a light should look if actually at night.

I'm shooting on 16mm a few day for night scenes, the character has a tungsten bulb attached to a construction helmet. Due to the volume of shots, I'm concerned about the SFX costs. I'm also not sure what the ballpark cost would be for say about 7 minutes of SFX. Does anyone have suggestions here?

You could try universities, I just graduated from CalArts in LA and there's a chance there's a flatbed or two they might be getting rid of. DM if you want a person to contact about it

S

@Montell Taraschewski Thanks Montell!

Looking for one of any three of these beautiful cameras

Show me the carfax 

Thanks Daniel! That helps a lot

Thanks all, I'm speaking with Hawk Anamorphic in LA. I appreciate the other suggestions, but as I mentioned, I'm prioritizing 2x anamorphic glass, and I'm ok with cropping. I'm less interested in cropping to 2.4:1 with spherical lenses. I am interested in trying out Ultra16 sometime, however the tests I've seen online don't excite me very much.

Another thought: are there any pros of using Super16 with anamorphic glass? Similar to how using an 8k sensor gives some freedom for reframing later on, could you shoot Super16 and have reframe options?

I'm not big on reframing, but I also wonder if there are more Super16 cameras with reliable video-tap available than reg16 ones. Plus more glass options

Do any folks here have experience with 16mm 2x anamorphic? I'm considering it for an "upcoming" long-form music video project, about 15-20 min.

I understand that cropping will be involved if it ever hopes to be projected somewhere, I'm ok with that - I'm prioritizing the anamorphic look.

What cameras have you used? Any rental house recommendations in the LA area? What on-camera monitor did you use? Is there such a thing as an anamorphic viewfinder diopter?

What other issues did you run into and need to negotiate? Thanks!