Andy Sparaco SOC

Do not put film it into the cargo hold it will be xrayed and ruined. You can do a carry on with "hand inspection" If the rolls are new and sealed you should have no problem. As long as you have booked travel well inadvance and paid for the travel with a credit card or thru a Travel agent. Travel thru England has in the past been a problem but they have gotten better about hand inspection of film products in recent years. If the if the film has been recaned you might carry a changing bag in the remote chance they want to inspect the contents. Usually they do a swab test for residue Check the Kodak web site for advice and get a copy of the actual regs for the countires you will pass thru -handy to have with you if there is a problem I would not post unprocessed film thru the mail FedEx and DHL are good choices and understand the issues regarding film materials. Your experience may be different and without complication. I shoot commercially so ultimately it's someone elses film and my resposibility it to protect it.

The focal length does not change but the coverage of the lens does. All lenses project a circular image Different lens designs project different size images You can have two lenses of the same focal lengths which do not deliver the same image size A lens designed for 16mm will not cover a 35mm frame A lens designed for 35mm will cover cover both 35mm and 16mm But since the 35mm frame is larger then 16mm you see more of what that lens is seeing, which is lost because the 16mm just does not have the physical real estate to capture the image. You are seeing twice the magnification on the 16mm frame but with half the resolution of the 35mm frame. It is very common to own a set of 35mm lenses from 18mm and longer which are used for 35/16mm then have three additional 16mm lenses to cover the wide end of 16mm. 16mm/12mm/9.5mm. Why not just use really wide 35mm lenses? -because they get real expensive to deliver coverage with such a wide angle-optical gymnatics cost big $$$$$ Cooke just added two new lenses to the "S" line of primes which do just that.

Power Tool Batteries-Cheap, fast recharge, available everywhere, 12 volts or 14 volts for a little extra umph Long Valley Equipment sells (do google search) a battery holder which is a Dewalt flash light which has been gutted with a lead wire soldered to the terminals in the battery holder. Comes out ending in a 4 pin XLR . Pin 1 is ground Pin 4 is hot. Just check the polarity with a volt meter. Simple, elegant, cheap, indestructible and you can use the batteries for power tools

We are beating this thread to death, the world is a big place absolutes can bite you in the ass. Seems to be room for more then one opinion on this matter: (see the link for complete posting) nuff said http://www.tobincinemasystems.com/page54.html "Quote" 6. Filming From Computer Monitors. This is a real no-man's land as each computer sub-model seems to drive its monitor at a different speed. Ideally use a photoelectric frequency meter to determine the ideal filming speed, or else run the camera without film while playing with the pushwheel switches to establish it. For the better quality non-interlaced monitors try the range of 25 to 46 FPS. For interlaced monitors try 12.5 to 23 FPS. The modern trend in newer IBM-compatible computers is towards a 75 Hz vertical refresh rate, implying a filming rate of 37.5 or 18.75 FPS. Use of the phase button is identical to that in section 5 above. http://www.cinematography.net/Pages%20GB/f...%20monitors.htm "Quote" Yikes, I plan to shoot a computer monitor, it doesn't have to be in sync - just a quick shot of someone looking at a gay porn internet site while at work (yes, it is a comedy). I suppose the solution is as simple as renting a cinematography electronics synchronizer, placing it behind the monitor, and away we go ? I realize that computers run at diferent speeds than monitors - Macs run at 75hz ... does this mean the speed will be about 37.5 fps? The camera is an Aaton XTR. Thanks so much in advance for any help, Duraid Munajim -------------------------------------------------------------------------------- >I plan to shoot a computer monitor...I suppose the solution is as simple as renting a >cinematography electronics synchronizer, placing it behind the monitor, and away >we go ? That is basically correct, you then need to move the phase bar off the screen by looking at the monitor full frame in the camera viewfinder, while rolling the camera with the magazine removed. You turn the phase control on the sync box until the bar is moved off the bottom or top of the video screen while the camera is running. Then you can load the camera and shoot, knowing that the camera will run in sync and the phase bar will be not visible on the film. There is one pitfall that you must be careful of: if you place the sync control's inductive pickup near the power transformer of the monitor, you might sync to the line frequency, not the monitor refresh rate. Bummer! Beware if the frame rate suggested by the sync box is exactly half of the local line frequency. (my note: 60HZ = 30fps)Move the pickup around until you get the monitor refresh rate. This only gets weird if the refresh rate is close to the line frequency, then you have to analyze what you see in the phase test to be certain that the phase bar is stationary relative to the edge of the monitor, before you move it off the screen with the phase knob on the sync box. Bill Bennett Los Angeles -------------------------------------------------------------------------------- >when I've shot computer commercials I've generally re-set all the monitors in shot to >run at around 60, I say around 60 because they're not that accurate, and locked the >camera to that. I suppose that as long as they can stay put at 60 for the length of the shot, it would suffice. When filming a lot of montitors, this would seem to be the way to go. Time to take another look at the PC. If I can make it run at 60, all I would have to do is run the camera at 29.97. Hmmm... Maybe I'll rent the synchronizer just in case BTW, thanks for all the answers - I feel less foggy about the situation. Duraid Munajim Montreal(-24 Celsius), Canada In any case a crystal controlled variable speed motor would seem a good solution regardless of what you may be forced to work with-my opine only

Flicker for LCD Roll bar for CRT both I consider a defect. We seem to be talking at different things at different points and we are past the point of being helpful to the orginal question. As we all know everything goes perfectly in production and we need not know how to address a problem that does not exist. And when I set up a shot in a room full of LCD monitors (as I have experienced in the past) and the Agency CD asks why some of those monitors are pulsing -I will show him this thread and assure them that they are not Time to leave this thread forever <_<

Yes LCD's don't flicker but the flouresent tubes which backlight them can and do. Stand infront of a burn in rack with a a couple hundred LCD monitors on a manufacturers production floor (as I have done in HK and China) and it is obvious. Where do the "flickering" LCD monitors go -to the US as B stock and no name brands. For the purposes of this thread you're advice is absolutely correct until it is not correct and the user has a flicker or roll bar in the monitor being shot.

Try Alex at www.filmcamerakit.com in London or True Lens Service in Leicester he used to be production department for Van Diemen. Might have an item or two www.truelens.co.uk I have plenty and would share but my arm is not up to the toss.

On the side where the current marks exist. Usually the side closest to the eyepiece. Colored and also coloured transparent tape also works well and is stylish in the video assist monitor!

Yes LCD's are pretty stable-and I have shot lots of film and video of them and CRT monitors and the only thing consistent is that they were all different and they can all flicker noticably on film or video. Being prepared and well informed to options and solutions seems only sensible-so many of the technical discussions are for the benefit of folks trying to solve a problem. There are other good reasons to shoot 30fps for monitors but they don't address the orginal question.

29.970 is a good place to start,especially with a LCD Monitor which are progressive and may not flicker perceptably. With the camera unloaded you can dial up or down a crystal controlled variable speed motor until the phase bar disappears. Then load and shoot. The tach and a non Cryatal controlled variable speed motor will not be critical enough to shoot a screen. The proper motor is the key factor.

Shoot at 29.970. A Crystal controlled variable speed motor can do that. You can rent them for a day. You should be able to see the scan linesflicker if you need to adjust the camera speed even more then that. You can loose the filter. An 80A is for converting Daylight to Tunsten used with Tungsten balanced film. Check the monitor set up there may be a 5600K (daylight) setting. Most monitors trend toward daylight not Tungsten (3200K). In any case you can handle any slight color mismatch in the Xfer

You might consider a different approach entirely. If you shoot at 6 to 9 frames per second and transfer at 6 to 3 frames per second you will get a slo mo effect that will be very strob/ blurry like . The advantage is you increase the effectiveness of your lights because you have the effective exposure of 1/12th of a second-which gives you very nice motion blurr. So in effect you quaduple your lighting. Also 100ft lasts 10 minutes so 400 feet will last 40 minutes at 6FPS. When I do this I go to a transfer house that bills by the foot not by the hour. You got to think outside the box when you do not have resources.

ROR is effective but hard to get off a lens completely. It does give you increased trasmission -I've checked with some filters and a spot meter. I use it once a year on every lens as a "holiday treatment" as I am rarely shooting between Xmas and New Years and Panchro the rest of the year. Panchro does not streak

I have them and I use them to clean every optic around my cameras except actual taking lens. (eyepiece optics/filters/Video assist relay lenses/Meter cells)For taking optics I use Pancho lens cleaner, kodak or Rosco lens paper, a sable hair paintbrush from an art store and a Giotto Rocket Air Blaster, never use canned air around the camera , mags or lenses. I subscribe to the theory that canned drives dust and grit where you cant get to Best way to clean lenses is not at all, use a clear filter in your matte box, have front and rear caps all the basics. When I have back focus checked I have the tech do a element cleaning.

Most often they are Xraying everything- and don't bother Tripods and batteries are good things to put into the aircarft hold. The TSA is skitish about battery packs they think they look like claymore mines-(as described to me by an inspector!) If they open the box then open the case so what they seal it up again As Mitch suggested get there well in advance of your departure. Ask for a "hand inspection" politely for your carry on. You may also find they may ship your gear out on an earlier or latter flight if the carrier has a lot of flights. THis happen to me a lot when I'm carrying all my own gear. Seems to be a stategy during busy times You might carry one battery as the may ask you to see the camera operate.

All of the Arri SR's were designed to go under an airline seat. I have a couple of Travelpro "roller bags" which fit in the overhead which can hold a 435 body, same for lenses. Most PortaBrace Camera Cases for video cameras are carry on legal. Insurance is the "cost of doin biness", it's affordable but usually no dam good. Doesn't help much when you have a job to shoot with no gear. Also when you file a loss claim and have your cheeks spread as they investigate every parking ticket you've had looking for a "criminal pattern". You can wait months for a "settlement" which means a negotiation which means you are gonna take less then Full value It's no fun to replace lost gear as some of it is not replaceable. Most of the delivery and baggage handlers know what film and video travel cases look like since most are former film students! Cases in brown boxes are anonymous. The best solution is to rent locally or have the producer deal with it . When in doubt ---delagate!

Mitch paints a very accurate picture. I use: 1)FedEX-The best 2)DHL-Pretty good-Kodak uses them for film shipments 3)UPS- The worst -Stuff you can afford yto loose USPO fogetaboutit! I always put a copy of the airbill inside the case and then a copy on the outside of the case Then I put the case in a brown cardboard box and seal it with tamper/Fragile lables and then affix the shipping label Also hide business cards behind the foam inserts. I always "carry on" the camera body and lenses. I sometimes ship personal effects to the location via UPS Ground I only put into Airline baggage things that are awkward and hard to run with always in a cardboard box with no handles. A brown cardboard box can be the best protection for your gear. Usually ship to the location before I depart so I know it's already there before I leave. This can be a hotel, studio or production company- best target location is the Ad Agency or corporate office your are going to, they usually have "formal" receiving procedures. When I have time I take digital pictures of the gear in cases and the ready to ship box. If something is lost or missing ths name of ythe game is to have all of your info aready organized and duplicated so you can affix the responsibility. I once had a camera lost by UPS. The Local "Air Service Office" kept passing the buck until I had the off -duty cop hired for the production walk in and "arrest" a counter person for grand theft. Handcuffs and a little theater never hurts. The camera turned up soon after that.

"The Station Agent" beautifully done. Also an absorbing story, the characters are great. The mark of a well done film -the technology disappears. 1/3 stop is a typical. Gives a you a little extra shadow details also gives you a buffer if the processing line is a little cold. I assume everyone knows not to process film on Monday. Over exposure can be as bad as underexposure. Anything over 1 stop will dramatically increase grain

The best way to shoot Sync Sound with an Arri-S is thru a window from across the street

I will be directing a corporate video to be shot in New Bern, NC for a national chain in January. Job will be shot in a retail operation approximately 1 to 2 days. Prefer a camera operator with a broadcast quality DV camera, audio package and simple but complete lighting kit. The camera must be able to output DV via firewire. Please contact me with a day rate/Camera Package list/ a link to a internet demo reel/resume with references. Your Overnight costs will be covered. Please build your travel cost into the day rate. This is meat and potatoes corporate training but must be done with polish. If you are not an experienced owner/operator please do not contact me. Thanks. asparaco@metafour.net

The NPR is a great professional camera. You might consider the Eclair ACL smaller and more fragile but with some interesting after market modifications available. A CP16 R would be a better choice then a Bolex. I recently saw a fellow on the left coast with a completely tricked out NPR-S16/PL Mount/Video Assist/Bridgeplate and followfocus. Nicely re-furbed and re-painted-looked new

I have been using Collapsible cores forever. Never had a lab problem or lost a foot of film. Cores on the take upside cause problems-noise/un even spooling. When you lock the lever down on a collapsical core you know the film is not comimg off until you want it to. It is a problem when you drop a roll in the bag, one of the biggest problems is your hands get sweaty and stick to the emulsion, using a pair of lintless editing gloves prevent this problem

An LLD allows you to not use the 85 at all. Handy when you need that 2/3 of a stop.

I think it is actually a "bar" across the edge not a notch. There may a difference from earlier flat lid to the later turtle back style. I may be thinking of the 2C mags. In any case the overall info for loading was correct

The Film should be on the spindle pointing at the front of the camera. You want to have the film coming off the "right side" of the roll once on the mag spindle. It then feeds out of the light trap facing toward the front of the camera. There is a notch at the top of the mag, feed the film out until it touches the notch , this established the correct loop load it thru the rear light trap and attach to the core or collapsical core. At this point the emulsion side loop should be facing with the emulsion toward the outside. You are ready to load onto the camera