Robert Glenn

How do you pronounc angenieux anyway? Is it "an-gee-new"? "on-geh-no"? "on-jay-noo"?

unles you have spools of 2R film, you probably won't encounter 2R film much in 16mm. If you do have 2r film and a super16mm k3, you might want to sell the film!

hey hey just try it out! Use a roll to shoot different lighting situations and see how it looks. While your'e at it, do a registration test while you're at it. you would need an 80a filter though. The lights that I think you're talking about have a orange hue and probably have a color temp under 2000. Using an 80a would probably be unfeasable without slowing the camera down to a lower fps I think. One thing you can do with a k3 though is take single frame shots with the wand that is provided with it, if you are concerned about saving film. Just dont use a projector to view single frames though.. will melt the film!

What i've read is to rig 2 film winders in changing tent and just figure out how many revs would be 100 feet, then cut and store

how much is a super16 convert for an arri S? Have you seen this listing? ACL_II

Sorry sorry I would say that I can spend 1000 on lighting equipment, and probably not much more than that for the next few months anyway. Renting is dicey because I live in a rural area for a good 100 miles every direction. Crew will probably be 1 person! I dont mean that just only one person will work on all of the lighting; it's a DIY type of project so we're all going to chip in and do multiple jobs, but I'll have one person maintaining lights. I don't plan to shoot until around February. As for scale, you can see that it will be very small scale as far as budget is concerned. Much of the film will be inside an old house with high ceilings. A couple rooms of the house are very light as in light colored enamel walls with little on the walls like posters or paintings or whatever. Haven't figured out what I want to furniture-wise... These are large rooms by the way, upwards of 20x15 feet.. Would like to do EXT night time stuff, but that could be formidable. Scenes in mind would be in a back yard, inside a screened in porch, and so forth. ALso want to do downtown scenes on the sidewalk in front of stores, etc. I've used lowell light kits before and liked the results, but I do like the focusing of fresnels. Would there be any reason to pick open face over a fresnel even? I'm not really interested in a soft light, primarily for the size issue, but maybe I should be. lights like HMIs and so forth are not an option unless I rent or can find a pro-bono Carolina contact. Can't forget an ellipsoidal.. Well hope that helps!

Very little!

Hello CHristopher, Lots of interior in a house/apartment; also lots of ambient light from incandescent(sp?) lamps and whatnot. Will be shot on film with an angenieux HR lens. Want to do some night time exteriors but I'm somewhat wary of that because many low budget night time scenes look horrible that I've seen..

What would be a good kit that would be portable, relatively inexpensive, and able to cover a high % of lighting situation needs? I'll have to exclude HMIs since they cost a lot(i can always rent I suppose). This doesn't have to be just lights.. scrims, bounce cards, gels can be mentioned as well. Can't forget china balls either. Thanks

That parkway sequence also caught my attention. Is there any documentation as to how they did it? The camera rolls around the car as it's in motion, then zooms in to the trio in the car as they have their dialogue, and I think moves away as they swerve around stranded cars and whatnot.

I'm pretty sure I know the answer, but maybe there's a better explanation out there.. Here's my understanding of the 3, so correct me if I'm wrong. Range extenders - extends the focal length of the lens by 1.4x or 2x etc. while raising the minimum f stop ---don't know if it has any other capabilities however extension tubes - makes the camera 'closer' without moving the camera too close for the lens to be able to focus. Doesn't degrade image but does cut down light and not recommended for zoom lenses diopters - same principal as tubes but can be used on zooms and little or no light cutting. Can degrade or distort image quality Finally does anybody use diopters regularly? If the diopter is not perfectly lined up with the lens, would the image distort? Thanks!

all 35mm lenses should work.. I'm just going to soldier with the zoom lens.. dont want it to go to waste

k3camera says: Q: What lenses cover the super 16mm frame? A: The zoom lens it comes with will cover super 16mm above 27mm or so. Below that, the 8mm Peleng lens will cover the full Super 16 area. A Pentax-screw mount lens designed for a 35mm camera will cover the entire Super 16mm frame as well.

Not to discourage your decision, but my classmate in college shot his project on a cp16, and he had 2 problems. 1 - the belt for the mag squeaked, so he was constantly putting KY jelly on it. 2 - he had frame stutter. The 2 problems were probably interrelated and due to non-servicing, but it really turned me off to the camera.

Kodak just says 85 for 5500k shooting on 3200k tungsten on their vision stock pages. I guess either one will work well, with the 85 being a little cooler, obviously! http://www.kodak.com/HU/en/motion/products...00t/index.shtml

Yeah it probably was the the mist filters now that you mention it. BTW a sky-1a filter is another alternative.. It's a light pink color

thx for the help. I have another question! Is there any particular order that filters should be in? I hear that ND filters should be in order from lightest to most dense, although that could be untrue. But for using color correction, UV and polorizers and ND as well.. does it matter?

how wide does the zenit zoom lens go before the image vignettes? 25mm?

You're crazy. If DPs could shoot trademarked buildings without risk of lawsuits, then every movie shot would have scenes with a costco or hollister in the background. Obviously you're impervious to those matters however, because you've shot hundreds of buildings for your short movies without a problem.

Can I get a 2nd opinion on this statement? Not to be against what you're saying, its just that I have 5 of those things and would like to use them if they are usable

If you're showing any company logos then you better get clearance for each and every one of them just to be safe. That's what I'm going to do anyway. For bystanders I guess you'll just need a couple spotters, or do like they did for 28 days later by having a couple attractive women hold people up while you do your shooting.... So what about automobiles? Do they require clearance, even if you don't see the manufacturer logo or model name on it?

he said that heshould get some in over the next week. I have 2 rods for my NPR but they are too nice to mess up for what I need. Crazy how these are so hard to get ahold of!

Has anybody recentered the lens mount on the k3? Seems like it wouldn't be too difficult to do

The only worry to have is how far back the rear of the lens extends. You don't want the shutter to hit it. I would expect most lenses to be safe though. The mount would be the same for 35mm cameras as well as 16mm cameras so the lens would fit in it if it's a PL mount. You might want to consider a super16mm lens though.. You will be able to go wider, and they cost less

Thanks brad.. will see what he says.