Salvador M. Rodrigues

Hi everyone, I'm relative new to film and recently I became interested in the anamorphic concept. I own a 16mm bolex camera and a beaullieu super 8. I have recently bought a Kowa 8z anamorphic lens but I'm not really sure on how to attach it to other lenses. The kowa seems to have a 49mm thread, now my zoom lenses that came with the bolex and beaullieu have a higher thread. My kern switar c-mount lenses have a much lower diameter and thus lower thread. How can I attach the kowa ? Do I need a special mount adaptor or can I use step rings ? For the zoom lenses, I can see the step ring working, except what happens when the anamorphic is smaller than the zoom ? I would surely get a vignette ? Thanks for any clarification! SMR

I'm planning on doing some s8 experimental shoots. I would like to film in negative due to the wider range of film available and also the 500 asa. I'm planning on having the film developed and then telecined so that I can edit offline. However, I would like a final reversal copy so that I can project with a s8 projector. Can someone enlight me on the process of "reverse telecine " ? Am I looking for something really expensive? Many Thanks, SMR

Hi everyone, I will be travelling soon and am planning on taking my s8 along. How do you take the films aboard the plane without getting ruined on the x-ray. And most importantly, how do you bring them back once they have been shot ? Thanks!

Ian and Nick, Thanks for the insight. I actually have c-mount adapter already. I recently just got a 10mm Elitar Soligor C-mout lens, it is referred to as being a wide angle. But I was a bit dissapointed when I screwed it in as the angle wasn't as wide as I was expecting. My other lens so far are the 16-100 zoom vario switar that came with the bolex, a kern paillard 150mm telephoto in c-mount, and two nikor primes from my old nikkormat 35mm still: 24mm and 70mm. Obivously the latter ones have a higher magnification, but looks really good. When I see lenses from Arri and other 16mm high end cameras, I notice that the lenses are very bulky. It just leaves me a bit baffled that the kern switar lenses are so small and light. Obviously there must be a difference in sharpness ? So I guess my question could be remodeled as to what are the sharpest lenses out there that could accomodate the ebm ? Thanks ! SMR

Nick and Ian thanks for all the info provided. It was unfortunate that I picked up the strange bayonet mount. I actually haven't paid them yet and considering they are useless to me, I'm going to talk with the seller and see if I can cancel the deal. I should probably pay some "service charges" just to cover the seller's posting expenses.. But better that than to get stuck with unusable lenses! BTW, with all the different bayonet mounts, what are the ones that would fit my Bolex ? What is the advantage of Bolex upgrading to the Bayonet rather than c-mount ? I can imagine to take heavier lenses as the turret on the previous models would be too fragil. But should I be looking into more powerful lenses such as the Arri or stick with c-mount ? What do you recommend ? I also have in mind for the near future to convert my camera do S16 Thank you! SMR

Hi Everyone, I just finished my edit on FCP and now want to take a copy of it to my special effects engineer who works with after effects on a windows pc. This copy will end up being the master copy once it is done. However, I will still have to to lay down the sound design(not ready yet). So this means, I will have to import it back again into FCP for the job and then transcode an mpg2 file for dvd burning. What is the best file output option for this workflow ? Because I work with macs, I have no idea what sort of file he is expecting.And I don't want to keep on compressing unecessarily... I would very much enjoy witty response as I'm due to meet him later on today. Many Thanks SMR

Hi Nick! Thanks for the reply! I meant to say Star Mapping, don't know where my head was at the time.. A shame about the mount then but even more about the pdf you provided. I'll take a read at it more carefully later on. It's almost 7 am here in London and I've been up all night working on an edit! :blink: All the best, SMR

Hi Everyone, I just bought a set of 3 prime Carl Zeiss Tevidon on Ebay. A 10mm f2, a 25mm f1.4 and a 50mm f1.8. http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...p;rd=1&rd=1 I've been reading up on how the Tevidon 10mm was constructed by Nasa for star gazing and possesses very sharp with 0 distortion. But can anyone tell me more about them? Also, on the item description it mentions to have a "movie Bayonet" I tried contacting the seller and ask if he could be more specific about it. From what I take it, there are various different bayonet mounts. I own a bolex ebm with it's bayonet mount, and considering the fact this transaction from Poland goes through, could you tell from the pictures if the lenses fit ? I'm fairly new to 16mm so any clarifications would be greatly appreciated! Best Regards SMR

Douglas, thanks for letting me know. Still doing a proof cut on FCP before cutting and splicing the actual footage and messing the hell out of it (beginner talking) can only be useful. I can still cut it accordingly mainly because were not talking about thousands of feet of footage. Would still like to know more about the sound process though. SMR

Hi Everyone, I've recently got very interested in Super-8 format. But mainly because of the possibility of being able to take part in the whole process, i.e. being able to shoot,develop,edit and project at home. I have experience with developing b&w negatives in 35mm still, and haven't yet experimented with Super-8. I am however, trying to plan a workflow on how to get a final print for projection. The plan is to shoot and develop at home. I was then thinking of purchasing one of those cheap home telecine boxes to where I would digitize my footage onto mini dv. Capture it onto FCP and do an offline edit (really useful to experiment different cuts), finish with an edl and then cut and splice the film accordingly and have it projected for friends and family. My question is, in what part of the process can sound be added and most importantly how ? I have searched the web and the results are targeted to a "Sound Striping" process. I don't really understand the process but I can tell it is nothing to have at home. So the question remains as, how can I input sound to play sync to my projection ? This could be either double system recorded dialogue,sound effects or just a plain music soundtrack. Wasn't sure where to post this, so hopefully this would be the correct category. Many Thanks, SMR

Hi everyone, I know it has been more than a month since your last replies. I haven't posted anything, because the situation hasn't changed. I decided to move on and concentrate on getting post production done on the film. The lab have been very open and generous, I can tell you the reason for the accident was due to the sprockets of a film being processed in front of mine getting torn, which led to a halt in the machine which subsequently left some of my film on the processing bath too long before the supervisors got it fixed (nice analogy) . The good thing from this though is that the lab hasn't charged anything (as of yet),and so I saved around £400 worth of processing and telecine and managed to come under budget! However, I don't know if this will change as they still have a copy of my neg's. Was it worth it ? Hmmmmm, probably not! Regards to everyone and thank you for all the replies and support! SMR

Hi Everyone, I have recently finished shooting my graduation piece for my film school. I had a very tight self funded budget of $6,950 to shoot a small sci-fi short on S16mm. For this short I had to rent a studio for a week and had two sets built purposely for the story. After shooting was done, I had to clear the studio and get rid of everything as was stated by the contract I signed with them (Also, I had nowhere to store them as the sets were huge). After shooting was wrapped I personally handed over 5 reels of 400ft colour negative to my chosen lab, a highly respected one in central London. The next day I receive a call saying there had been an accident while developing and because of it, 7 minutes from my last reel were ruined. I have seen the telecined rushes and those 7 minutes are totally bleached out. What this means, is that my film now doesn't have an ending. Because I was filming under such a low shooting ratio (2:1), those 7 minutes account for various scenes and shots. There is no way I can complete the story without those 7 minutes. Also, after spending that much money I can't think of falling short and edit a totally different story. The consequences are, that I have to rebuild the set in question once more. Furthermore my art director is no longer available, which means it will be almost impossible to have an exact replica, so some of the earlier shots won't match. After speaking with the lab, they have assumed full responsibility and are trying to help me out financially to complete the film. I have calculated that I will need at least $4,000 in expenses to have the re-shoot. When the lab learned of this, they obviously felt that it was too much money and although they want to help me, they reminded me that in the terms and conditions of their policy, they should only provide me with a new reel of stock as my insurance should cover the damages. Except, being new and naive into using film, the only insurance I took out was for liability on the film equipment and lighting gear. All in all, I'm left with a very unique scenario as I never heard of a professional lab accidentaly ruining the negs(And this lab like I said, is highly regarded) and with an incomplete product. Just would like to know if anyone has ever faced such a situation and how they dealt with and also what should be my legal options ? Best Wishes to everyone, Sá

Hi everyone, What I think lots of people missed from Kill Bill is not the story or all the gore and action sequences. Those shots actually made me laugh,the way the blood gushed all over. For me what made Kill Bill a kick ass movie is all the styling used in the movie,from the black and white shooting to the manga sequence of Oren Ishi, its a sort of a retro 70's pop art style and I think Robert Richardson pulls it off completely . The scene where Uma is fighting the 100 bad guys, the lights go off and theres a soft blue light on the background making all the characters into silhouette style in a reflected floor is simply amazing. Then the scene right after, she battles it off with Lucy Liu in a typical chinese garden, except it is snowing and the contrast of the red blood stains on the white soft snow and.. ahh, everything is simply so beautifull that I get goosebumps everytime I see it. Technically, if you consider some of the shots Quentin uses, they are simply brilliant. There is a clear influence from all the Sergio Leone films, such as the church scene when the camera dollies outside and all the characters are framed within the frame of the window, or the long steadicam/crane shot inside Oren's hanging out place, that goes on and on and on. Great coordination of moving people around there. And of course, the characters and dialogue are Tarantinesque style and they simply add a whole new dimension to the pleasure of viewing. That is what I like about Quentin's style, he takes all his influences, adds a drop of his own techniques, mixes everything up and what we see is a whole new style of cinema. My influences are definitely the shooting style of Sergio Leone mixed with the mysteries of David Lynch, with the art feel of Quentin,the suspense from Hitchcock/Shyamalan and the sound of Morricone/Williams. But then again, I think everyone one of us would love to do a Star Wars, and looking back that's the only movie I must of seen a hundred times! :)