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Joe Gioielli

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  1. If you have access to SD, shoot sd. This is going to be a good nich market film, just distribute it yourself and don't sweat it. Get it shot, get it chopped, get it out there! Format is only relavent to festivals and geeks like us. Most of the people I show my stuff to couldn't care less or even notice SD or 16mm.
  2. If you can afford a spot meter and understand the zone system, go for it. It is the best way to go. If you have to make a compromise, I would still recommend and incident light meter. naturally, you will have to learn how to overcome certain problems, but I much perfer them to relective meters. Think of the black cat on a black pillow. There isn't going to be a whole lot of light coming off that. A reflective meter will think there isn't enough light, tell you to use a larger apeture, and you get an over exposure. An incident meter will measure the light hitting the kitty. This will give you a better reading. I recommend going to the sekonic homepage and doing a little home work. There is a lot too it, but once you get the idea it will come easier. Then hit your local camera shops and look for a second hand meter. GET A GOOD ONE :) Cheap will always hurt you in the long run. Sadly, many photographers have abandon light meters (using the built in ones) so many dealers will give you a good price. My meter cost more than the camera did. I paid 175 USD, new it was 250 USD. I use it for all my photography. Best Wishes and keep asking questions. Joe
  3. All things in life come down to budget. If you must have synch sound for your projects, the k3 is not the way to go. Either rent something better or consider video. DV is great for low-budget doco work that require large amounts of filming. Image quality suffers but 2 buck an hours for tape is cheap. Just something for you to consider. As for the K3, I have one and love it. I really don't believe in spending a lot of cash on any kind of mods for it. It is an over grown home movie camera and there is nothing wrong with that. You can do a lot with it. But I just don't see the point in investing capital into a camera that is limited to 100 ft spools. It's a 200 camera. Enjoy it for what it is. Joe
  4. Sounds like the work on one person, if only 3 cameras were stolen. Also, and I really hate to say this, but I don't thing the average burgler would steal 16mm movie cameras. He would want something easier to fence. It sounds like it may have been a local film-maker that did the job. I'd look to people within the community. Thieves brag, someone knows something. Put out a reward and a tip line. Sorry for the bad news. Joe
  5. I think sometimes people go through a mental "process of elimination." If a person sees something the don't recognize, they "run through the list" of things it 'could' be. People know that video cameras as square, silver, and have little red lights so they 'know' it isn't a video camera. The K3 is big, covered in leatherette, and has a huge lense. If youthing about a typical "spy" movie, the cameras are often big, black, and have huge lenses. So I guess in thier minds, "professional still camera" is the best answer they can come to. Remember, to most people, a camera is something they use three times a year. We are really more into this than most people. Joe
  6. Joe Gioielli

    My parents

    I think this is a very interesting question. I'll share my view. make of it what you will. The last 5 years of my mother's life were not great. She had a stroke and lost much of the use of her right side. There were many things that she could no longer do for herself, including her personal hygene. She needed assistance. If my father was unable to care for her when a need arose, I did. Very often I would have to put my own life on hold to care for her and the tasks were often uncomfortable for both of us. I can't describe the feeling I had when she finally died. I didn't feel resentment for having had to take care of her nor was I relieved that I had "finally gotten my life back." Heck, I didn't even feel pround of myself for being Mr. Nice Guy. The best I can say is that it was humbling. For me, it wasn't an obligation, it was a honor. Joe
  7. Cool, Clive, I didn't realize that Kodak still perfed 8mm. So I guess big K is perfing the 100d. There is also another benny to regular 8, you don't have to worry about getting those "blue lines" from the carts. Joe
  8. Regular 8 is something of a cottage industry. Kodak pulled the plug on it years ago. Every foot I have ever shot has come from John Schwind. He buy 16mm film, reperfs it, and packs in those cute little tins. As long as there is 16mm film, there can be reg8mm film. The image is a bit smaller, but the camera has a real pressure plate so that is a trade off. Give a little, take a little. I think the real advantage that Reg8 has over Super 8 is that Reg8 cameras work more like real movie cameras. You have to thread the film yourself. And, as most of the decent cameras are manual, you have to learn what an f-stop is and get a lightmeter. I went from my bolex to a K3 and didn't miss a beat. The real downside to regular 8 is that they are almost all spring wound. So every 20 seconds or so you have to wind it up again. Also, there are some really crappy 8mm cameras out there that offer little to no control over the image. You really need to stick with better cameras. (You can still get a decent bolex for 20 or 30 bucks, so why bother with the $5 stuff anyway.) Joe
  9. Hi Brandon and welcome. I don't know how much experience you have with film, but there is a bit of a learning curve. If you have never used film before, don't worry. It really isn't that hard. There is just a lot to learn. But, as it is all interconnected, once you understand the basic concepts, the rest will come easy. It sounds like you may be just starting out. Go to you local camera shop or bookstore and get a book on basic 35mm photography. All the concepts are basically the same. You need to learn about f-stops, film speeds, and shutter speeds (in cinema you work with frame rates, but its the same basic idea.) Also try 'googling' "basic photography" and find some websites. Still photography is the best place to start. It all boils down to have sensitive to light you film is (called ASA or film speed) and how much light you expose the film to (controlled by your f-stop and the frame rate). Film that is used outdoors generally need less light (a lower ASA) than film that is used indoors (a higher ASA). So, even though your film was fine outside, there was not enough light inside the building to "activate" the film and capture a proper image. Even if your camera was wide open (largest f-stop), there still just wasn't enough light. You will need to add more light or get a faster film. Joe
  10. Try leaving it in direct sunlight, I've heard that helps. Joe
  11. Justin, it is my understanding that not all Wal-Marts offer the service. I have no firsthand knowledge as to why, but I believe it has something to do with the shipping (for off site photo processing) company that you local Wal Mart uses. As for their claim that everything is done "in house", well, I'd be surprised. A WM could process and print film entirely onsite, in theory. If they offer movie film transfers or photo-mugs, that would have to be sent out. Personally, I would bet that they send all the "non one hour" film process out. Most of the people at WM photo don't receive full training. So they may not know all the services they are supposed to provide. Often asking questions of them is a waste of time. If you want to do it, just write on the special instructions line "Process K 14" then call every week until it comes back. You could also just send it to Dwaynes. It is more money, but less hassel. Best Wishes Joe
  12. I think you are on the right track. Right now, don't worry about contests, or even spending a lot of money on equipment. Plenty of time for that later. Right now the important thing is to learn the basics. Hit your local camera store, or ask around your friends and family. Get a manual slr, a lightmeter, some film and some books. Then go out and have fun with it. Do things wrong to see what kind of effects your "mistakes" cause to the film. Once you get good at still photography, go get a REGULAR 8mm camera. They are very cheap and you will learn how to thread film into a camera and will get a real feel for how film moves through a camera. (I feel Super 8 is too easy to learn with. Use it later after you get your feet wet.) Once you get that down, buy a cheap 16mm camera and do it again. The idea is that mistakes are expensive, and you will make them. Relax, we all do. You just want to make them on the least expensive format. Believe me. you will feel alot better wasting 25ft of regular 8mm film because you loaded it wrong than you will ruining 400ft of 16mm. Welcome to the forum and best wishes Joe
  13. Hi there, I'm not sure what the "Ha Ha" was all about. It was $5. If it works, you can't go wrong for $5 bucks. Heck, evern if it didn't work, it was only five bucks. I have $200 worth of broken H8s in my closet that I don't feel all that badly about. Considering the amout of good equipment I've gotten on the cheap, I'l still way ahead. I recently took the plunge again and bought 2 cameras for a total cost of $40. If one works I'll be a happy boy. The only thing I would mention is that if it is a "K40" only camera, look into getting some film for it ASAP. For me, keeping my 8mm shooting on a low budget is part of the appeal. I like the hunting and restoring. Personally, I think if you're going to spend real money on equipment, rather than buying a "good" super 8 camera, you'd be better off getting a little 16mm set up. With K3s going for around $200, it becomes an attractive option. I was floored by the difference between 8mm and 16mm. Yes, film is more expensive, but well worth it. But it all depends what you want. Have fun with the camera. Joe
  14. Forgive my stupidity, but would we be able to use 100d in cameras that are auto only? My chinon lists "daylight 25/100 artifical light 40/160" so I would think so. But I am clueless regarding the pin metering system. Frankly, that's what I want. I want to be able to use at least some of my cameras again. I live with any stock they give me. Joe
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