Scot McPhie

Thanks for your lengthy reply Michael it is much appreciated - however you completely misunderstand what we are trying to do. I'll explain with reference to your quotes: It is not a pro-audio deck or time code synch machine. It is for use with non crystal synched cameras in which the frame rate constantly drifts by small amounts above or below the set frame rate (eg 25 fps +/- 0.2% randomly). By getting a pulse from the camera each time a frame is exposed we have a reference point which we can use to shrink or expand the corresponding portion of the recorded dialogue so that when the film is transferred at an exact 25fps in telecine the recorded dialogue will match it and be in synch. This can already be done by software but we are looking at a way of doing it in hardware on the fly as it is recorded, thus simplifying the post route. There is no time code recorded. It's not a sensor to balance out noise in the line - but rather a sensor to sample the camera sound - ie the actual whirring/clicking sound the camera makes when running - so we can then use that to try and cancel or reduce that sound from the recorded dialogue. Agreed the bit rate and Hz should be high. As you've probably realised by now alot of processing will be needed and it's not a recording device - but something that treats the sound and is then passed out for a recording device that the user can choose. Scot

Not yet - the purpose of the email is to gauge interest/demand in it - the rough price given is based on experience from other devices he has made - it's given as a guide to see how much interest there would be in the unit as this price range. I agree you can't get an actual idea until a prototype is done and a set price is established. None the less I'm keen to hear people's thoughts. Scot

A friend of mine who is an electronics engineer/nerd/genius has proposed the following audio device: An ad on box which in real time does three things: 1 Resolves the audio to a given frame rate in real time, based on a sycnh pulse input from the camera 2 Uses a sensor attached to the camera body to get a reference signal which is used to subtract or reduce the camera noise from the final audio signal 3. Acts as a DI box to interface your balanced microphone to a recording device The processing will be achieved by DSP processing in the unit. The next question is how much would people be prepard to pay for this - and how much demand for it is there? All questions and input appreciated. Scot

Matt's dead right - I've never done a whole film this way but parts of it - and it is extremely hard and time consuming - it's quite possible though - but you'd probably find it's more time and cost effective to save for longer and buy a better camera and then go and shoot the film. Scot

email them or check out their web page -- and don't ask what's their web address :lol: Scot :)

It was discussed here - but the costs etc are all out of date http://www.filmshooting.com/scripts/forum/...opic.php?t=2391 Scot

As a matter of fact I don't - which is why I phrased my post as a question and not a statement. Why do you assume otherwise? I certainly contribute at filmshooting.com but I don't read everysingle post. Scot

Jeepers creepers that's small: hmmmm my new camera....... Scot

How rapidly are you maving the camera - the forces as you move it are probably effecting the motor - perhaps you might need a new motor - how rapidly are you moving the camera, at a rate at whoich you would be filming something? There are two service agents that I know of Bjorn Anderson in Sweden and Milan Smetak in Melbourne, Australia - I can get you Milan's details if you want them, I think Bjorn's will be on filmshooting.com see http://www.filmshooting.com./scripts/forum...rofile&u=60 Scot

I don't have one of theses cameras - but could that other pin be the registration pin? - aren't they the only Super 8 camera with a registration pin - hence giving them the steadiest image out of all the Super 8 cameras? Mitch Perkins of Sleep Always fame could anser that for you Scot

Yeah that's not right. It could either be the camera or the battery I guess - is the battery delivering a constant current? Scot

Well I'll admit I've never done this, so I don't really know - but it sounds to me like you're doing a good thing - just make sure you frame for the HD aspect ratio when you shoot so everything lines up right in the telecine. I'd say your main concern is make sure you shoot the 16mm right in terms of focus, exposure DOF etc, and then make sure your nle can handle the hd workflow. The film itself should look great when telecined this way. Now someone who's done it tell us what Iv'e missed :-) .......... Scot

Independent Film making by Lenny Lipton is a good one, as is The Home Movie Makers Handbook edited by Christopher Wordsworth. You can also learn an unbelievable amount by participating in these forums - especially the filmshooting.com one which is temporarily down at the moment - just start going back through the pages here and you'll find heaps of info. good luck with whatever you do :-) Scot

The whole film (or about 99% of it) is actually HDV - we started on 16mm but ran into some technical problems with the camera so switched. A final cut has been done and I'm just waiting for the musical score - so it should be out on DVD really soon - all things going well - and I'll post a proper trailer for it too BTW re the Super 8 and 16mm - there's some scenes in In My Image which on a tv screen look just like 16mm and there is no grain visible at all. This was shot on K40 though with it's Super fine grain, I'm not sure if you could do that with any of the other stocks - perhaps the repackaged Fuji Velvia. Grain though I believe can work for your story - I thought the softer/grainier and therefor bleaker look of Sleep Always suited it perfectly. Scot

It was telecined to minidv by a Rank Cintel machine Scot

You can check out my trailer for In My Image here: http://www.mango-a-gogo.com/show/show.htm this is all K40 Super 8 -- the aeroplane was K25 double super 8 - of course now you could shoot the trailer on the vision 2 negative stocks and then use them in 16mm for the feature. It will look a bit softer and grainier in some instances, but in others I bet it won't show that much Scot

Very nicely put David - I think people look for definitive technical answers because they're insecure about the choice they have to make and want some process or "law" to make it for them. Technical issues are important up to a certain degree (eg I wouldn't use Super 8 for an Imax blow up!) - but once you're in the ballpark of what you need - a number of alternatives will all do it well technically - it's a matter of thinking more abstractly and artisitically (and perhaps even going out on a limb) from there. Scot

That's right Richard - sorry forgot to mention that - apologies Scot

I'm afraid I'm not an expert on filters! I've got a UV and a series of diopters -- I want to get a polariser..... - but don't know much about any others though unfortunately - sorry! Scot

Mine is 72mm Scot

I was dropping in some digital prints yesterday at Photocontinental and decided to ask if they can develope the 64T (since it's E6) I was fully expecting the answer to be no - but to my surprise they said yes! They've bought the add on equipment to their E6 machine and are going to start testing the process over the next two weeks. They haven't set a price yet, so here's hoping it all goes well and isn't too expensive. They retail 64T at $28. Being able to drop it off and develop it locally will be fantastic - not just for people in Brisbane, or Queensland, but all round Australia I should think. As far as I know they're the only lab in Australia planning to process 64T. If you're interested in using their service why not phone them or email them to give them some encouragement and let them know the market is there. Scot

It typically takes 3 or 4 seconds to settle down on to the right speed - how long are you running it for? Scot

All the points here are quite good - something else I find is that features often spend more time in setting up the time and place - and the chaaracters in that space - before the story line kicks in - this really makes you feel like you're being transferred to a different time and place --- I think tv shows don't do this becasue of their time limitations Good luck - this thread has been helpful for me too! Scot

Beaulieu Cinema Services is Milan Smetak - I've used him a number of times for both my R16 and my 4008 (which I've since sold) -- I've found him very good - do you need his contact details? Scot

I'm interested in giving this a go - anyone have any experience with it? I'm going to start looking through this document http://www.kodak.com/US/plugins/acrobat/en.../h247/h2407.pdf - it's the ECN-2 processing specs.