Gino Terribilini

I've been on set a few times where specific colors of tape are needed, but I still don't know exactly what each color means. This is what I know: Black- Exposed film White- Unexposed film This is what I want to know: Blue on the camera/ mags/ can Red on the camera/ mags Pink tape Yellow tape Green tape Anything else I should know about colored tape...

I know in FCP there is the cmd+f12 option to do a full-screen preview of the film yo are working on, but is there anything like this is Premiere Pro? I have been trying to find something that would suggest this and even going so far as to look in the help manual, but to no avail. Thoughts?

My cousin is looking to buy a new camera sometime soon and is considering buying an XL2. I would like some opinions as to whether or not this is a wise decision based on the fact that there are several other great cameras for about the same price. I have only used the DVX100 and an XL1s, so I have very little experience with video cameras. What would you advise him to get?

I am using gaff tape as well.. maybe i'll pick up some paper tape and give it a shot. thanks!

Is there a certain kind of paint one can buy to fix up blemishes on one's camera? I have taped the door on my Arri 16s to prevent light leaks and when I peel off the tape, some of the paint comes off with it. Is there a way to fix or prevent this? Gino Terribilini

Its not a huge mess-up, but its something to watch out for. Or maybe somebody else has some experience with this issue. I am working on editing a short that we shot on both 16mm and 24p video. In Premiere (CS2), you select the timeline format you want to use (24p @ 23.976fps, DV @ 29.97 fps, 720p 60 @ 59.94 fps, etc). We had shot video part with 24p, so I created a timeline configured to support that format. When I went to import the film part that had been telecined to a DVCAM tape, the footage looked a little off. It looked okay, but what really threw me off was the fact that I had to render it. I couldn't, for the life of me, figure out what was wrong. It wasn't until we were well into editing that I remembered this whole timeline format thing. So I moved the entire sequence into a DV (29.97 fps) timeline and it all worked out. Now, there are some partial frames and weird rendered pieces, but they take no time at all to remove and clean up. I'm not sure if they can transfer the film sequence onto video with the 24p timecoding, but it would prove to be useful if you plan on shooting with both film and video.

What is the best way to dub dialogue?

If so, could I connect a wire from that jack to the negative terminal of the old battery plug on the camera (the 2-pin plug) and establish a successful connection?

Is this the jack you are talking about? The s/n is 7843.

I bought the torque motor separately from the camera. There is a sticker label on the torque motor that says, "VISUAL PURSUIT, 12 VOLT" on it. I take my camera to Alan Gordon (a film equipment rental/ store/ service place next to Paramount studios) to get serviced and everything. Following the conversion, they said everything was in order and the camera worked fine. I asked them to varify that the motor had indeed been converted to 12v and they said it had.

Got a bit of a problem here... my 16S' torque motor died. Well, not totally, but its just as useless. The torque motor had worked fine with the 400' spools for about 600', then got jammed, then 150' later, it jammed again, then 1/2 that much, it jammed again. So I opened it all up and the take-up side is not working. I tried changing the motor and torque motor to reverse and that side wouldn't work. I set it back to forward, and turned it on, then spun the take-up side and it started working. But after about 75', it stopped again and when I went to spin it up, it still wouldn't work. When I try to spin the take-up spool manually wile the camera is not off, it kind of jerks forward while i'm spinning it like its making a connection, then losing it, then making it, then losing it, etc. Have any of you heard of this? Do any of you have a 12v torque motor you would be willing to sell or (and I know i'm going out on a limb here) let me borrow? I have a shoot this weekend and i'm cameraless... any thoughts? Note: I had just had my camera checked out and they said it was fine. The torque motor and camera had recently been converted to 12v.

Congrats to all of you!! I have one question for those who have gotten in- how is your academic history? I think I am building a pretty strong creative resume, but as far as regular classes are concerned- i'm a dead average. Thoughts?

That looks like such a clean camera and a very impressive lens.

Here is one from the back. You can see the video tap fairly well, but again, this was taken with my cell phone, so excuse the poor quality.

It was an O'Connor head... I don't remember what model it was, though. Overkill, yes, but it worked great!

I sent out my Chapman application a few months ago and they recieved everything, but I have not heard from them. They are supposed to let you know around April 15th, but in the application, they said they would have a phone interview with you. If I haven't gotten a call yet, should I start forgetting about them or do they call around the 15th?? Any experiences to share?

I am a student trying to get "in" and I was wondering what it is you all do for money. I realize that being passionate about film is very important and one shouldn't worry about money, but when it comes to feeding yourself and paying for rent, etc etc, I get a bit worried about how that will all pan out. Should I just continue making movies and not worry about that and let things just fall into place or would it be wise to get a paying job and keep filmmaking on the backburner?

I only have 3 prime lenses (16, 25, 50) and we were switching between all 3. The video tap was rented from Alan Gordon in Hollywood (next to Paramount). It had a small Sony CCD camera hooked up to a simple rig that screws into the eyepiece slot. The image you see was taken with my cell phone because my digital camera broke and the quality of the photos with the rig isn't good at all. I took some with a disposable camera and will get that developed sometime early next week. I'll toss those pictures on as soon as they show up.

Got my eagle scout, but can't remember how to tie many knots. I was on a shoot recently that had some stunt guys rigging up all kinds of stunts, but I was mostly amazed at the ease at which they tied their knots. Very impressive...

I did a shoot this weekend assisting DP, Oliver Ponce. He is a young, up and coming DP, but really knows his stuff and is great to work with. He is friendly, hard working, and very fast. Just wanted to put in a good word on here in case any of you end up working with him.

IMDB has everything you need to know about almost every film: Camera Aaton A-Minima Aaton XTR Arriflex Cameras Film negative format (mm/video inches) 16 mm 35 mm (Kodak) Cinematographic process Digital Intermediate (master format) Super 16 (source format) Super 35 (source format) Printed film format 35 mm (Fuji) Aspect ratio 1.85 : 1

I don't have anything online, but I can send you a clip if you'd like. Shoot me your email and i'll send you something.

I'm not sure if there is a topic on here where you can post pictures of your camera, so I thought i'd just start one. I wanted to brag for a minute about my Arri S' recent makeover. I got her converted to 12v, then took her on a shoot and hooked up a video tap, which was connected to a wireless transmitter so the DP and Director could have their own portable monitors. This was also the first time she was able to use her 400' magazines, so that was cool, too. Make sure your wives/ girlfriends aren't in the room... they might get jealous... I'd also like to see some of your cameras and the getup you have for them. Post them here

My Arri S has been good to me on the last two shoots i've been on, but my 25mm lens is giving me trouble. First off, its hard to slide the darn thing into every slot on the turret and pulling focus is just as hard. Is there something physically wrong with the lens that I can alter to make it easier?

I'm usually the one behind the camera or directing people, but this weekend, I may wind up being a script supervisor. The problem is that I have no idea how to do that.. thoughts?