Tim Myers

If anyone's had any experience using both the xh-a1 and xl-h1, I'm curious to hear which you prefer. I've been debating which camera to get for months, and finally have it down to these two. Price really isn't that big a deal, I'm mostly concerned with which cam will get me prettier footage. I would prefer shoulder mounted (hence my slight preference for the h1), but I've heard many complaints about its viewfinder. Would I be happier with the a1 for reasons other than saving cash? And is it true that the a1 pretty much IS the h1 in a smaller package and with a fixed lens? Is there any difference in their footage? Thanks!

I've been using a VX-2100 since it first came out, and it's been a wonderful little piece of equipment. Captured beautiful footage and never once gave me a single problem. Sadly, the time has come for an upgrade, as I'm ready to jump to HDV. Seeing as how my 2100 was so helpful, I think I'd like to stick with Sony. What are your guys' thoughts on the v1U? I like the 24p option, but has anyone seen its footage? Does it look cinematic at all? When using decent lighting with my old 2100, I was able to tweak it into looking very much like film. I assume the V1U will make this even better? The only other cameras I'm interested in are the Canon XL-H1 and XH-G1. If money were of no issue, what do you guys think is going to give me the prettiest, most cinematic footage? Thanks for reading, and thanks for any help you can offer! ...And to all you trolls out there, I don't need a lecture about sifting through old posts to find this info. I already did and came up short, so go troll somewhere else.

I was originally planning on building myself, but now I'm looking at some of the high end models on Alienware's website. They're pricey, but I certainly don't mind pricey if the performance is worth it. What are your thoughts?

Hey guys, I've been shooting DV with a Sony vx2100 for four years now, and she's served me well. My computer (PC) has taken everything the 2100 could give and edited like a champ. However, I'm ready to make the jump to HDV, and seriously considering the Canon XL-H1. My plan is to soup up my PC so that it can edit HDV without even breaking a sweat, and I'd like to do this before even purchasing the camera. So, my budget is about 3,000 bucks, give or take a hundred here or there. I see a lot of really knowledgable people on these boards, and I'd love to hear all of your advice. What kinds of specs should I pursue? What would make the ultimate HDV editing beast? Can I stick with AMD? I hear they have something coming out pretty soon that will rival Intel... Any truth there? Thanks for any help you guys can offer! Oh yeah, and just in case any trolls are reading this (there aren't many on these boards but I've enountered a few), I -have- already looked around to see if this has been answered before, and yes, I am doing my own research. This is just a part of it. So there, no need to get all troll-ey with me! Thanks again! - Tim

Yup, I'm right next to Concord, and just a short drive from San Francisco. Thanks for the offer though, David, it's generous people like you I hope I continue finding. As for what specific kind of Bolex I've been offered, I can't remember. I haven't seen them since last semester, but I'll find out on Monday and post here. Now, my plan all along was to avoid close ups during dialogue scenes for the very reasons you guys have mentioned. I'll use lots of wide shots, and the shooting from behind idea is also clever. I'll start storyboarding all this stuff right now. Being organized for once, go me. What I need is a simple, easy to learn camera that won't drown out dialogue with that terrible coffee grinder noise. Oh, and cheap too... I know, not a good combo! Mr. Bowerbank, we're in the same neck of the woods, do you know anywhere I could find such a camera? My script is done, my actors are ready, and we're close to securing the locations we'd hoped for. I'd like to shoot this thing over spring break, so between now and then I'll focus solely on finding a camera and getting to know it like a new best friend. All prayers will be greatly appreciated. Thanks a lot to all you guys, you're more help than DVC's stone age film program! (Though Ken White still rocks the house.) Hope to continue hearing from you.

Hey everyone, I know ther are thousands of posts relating to this topic already, but I'd like to ask anyway. In early April I'm going to shoot a short 16mm movie that needs to have sound. The college I'm attending loans out free Bolexes, but from what I've gathered, they aren't a good idea for anything but silent films. Then again, Peter Jackson shot Bad Taste with a Bolex and that's got plenty of sound.... Anyway, is the Bolex a no no for my needs? If so, what do you suggest instead? I've got a few months between now and the actual shooting, so I've got time to rent said camera and learn how to use it. Thanks for any help, it's appreciated, guys!

I agree with you that handheld camera work -can- increase a film's intensity. However, I also feel that too many directors these days that use said camera techniques are simply trying to be "edgy." And that's just annoying. In Devil's Rejects and Babel, I didn't even notice the camera work on first viewing because it was done so well. I was 100% enveloped in the directors' visions. Of course, with repeated viewings I see more and more things I love. Then there's Greengrass, and because of that guy, the last 15 minutes of Bourne Supremacy just about gave me motion sickness and I was wondering what the hell was going on. Just shaking the camera a lot and cutting to new angles every nanosecond is not artistic and quite irritating. He may think he's making everything seem more "real", but in my life at least, the world doesn't start shaking to the point of zero visibility just because I'm in a fast car. But that's just my two cents. BONUS: Directors who are super talented but need to take it easy on their Avid and buy a Steadicam: Tony Scott Wayne Kramer Mark Neveldine Brian Taylor Darren Lynn Bousman James Wan Good luck with your thesis!

I'm having the exact same problem with my 814 xls! Any successful developments? If so I'd like to follow in your footsteps. Good luck! Tim Myers

Sadly, film is no longer a requierment. My teachers actually laughed at me when I asked to use the old 16mm cameras. All that is requiered from me is a pretty looking dvd. But then, this isn't an actual film school, just film production courses at DVC in the bay area. Lame, I know, but the grades weren't goood enough to get into a big boy school just yet.

I just bought a Canon 814 xls for 600 dollars. It was supposedly sold in like new / working / serviced condition. Last weekend I put some ektachrome 64 in it and pulled the trigger to start filming and it started going for maybe a second or two, then it stopped. I pulled the trigger again and nothing happened. Pulled it again and got a little sputter. Another trigger pull and it worked for a few seconds, then died again. Now it won't go at all. Any ideas? I have a project due in two weeks and am stressing out over this. Thanks for any help you guys can offer.

I know this question has been asked in these forums but I'm in a pretty big hurry. It is indeed possible to edit super-8 in my computer correct? Who and where can I send my film to and how does it end up in my computer? Expensive? Thanks. One other unrelated but equally important question: if I'm filming in a dim house, how can I ensure my camera will pick everything up clearly? Lights I know, but any specific ideas? Thanks.

Hello, I'm going to school in the San Fransisco area and the college has offered to loan me a Bolex H 16 reflex camera to shoot my next student film on. My main concern is the telecine process, as I don't understand what it really implies. How do I go from having a bunch of used film to having the footage in my computer? Any idea about cost? And is there any way I could edit it in Premiere and then get it back on 16? Thanks for any help you guys can offer.

And everyone keeps reminding me that the 814 isn't all that bad either. Is it as mobile as the 1014 electronic? I'd really like to walk around with this camera all day with as much convenience and as little hassle as possible. Thanks for all the help!

"Canon 1014xls is easier to hand hold imo. I would go for the 1014xls." But isn't the xls bigger? One of the main reasons I've been staying away from the xls is because it looks bulkier. The 1014 electronic looks much more mobile, lighter, and easier to hand hold. Anybody else think the xls is easier? And as far as quality goes, which one will give me prettier movies?

Holy hell, I think that Kinoton 38E might be just a little bit out of my price range. Just a little bit. Are there cheaper projectors that can do super 16? Significantly cheaper? I'm fairly close to the guy that runs the local theater, could his 35mm projector do my super 16 footage? Maybe if I throw money at him? I'm confused.