Joe Taylor

Hello I just bought a NIZO S 800 PROFESSIONAL for $180.00. Not knowing a lot about Super 8 cameras I'm wondering if this is a good price for one that is in great shape and works well. I've been doing some research and believe that this model has time-exposure abilities. Is this correct? Thanks

Has anybody seen this one? Some of the most gorgeous cinematography and in-camera effects that I've--- EVER! If I had not read what I've found about it, i'd suppose most of the eye-candy was CGI. this just came out on DVD and I highly recommend it.

Hello I'm looking to buy a Nizo 801. Will my Angenieux C-Mount off my Beaulieu 2008 work with this camera?

Sergio Leone did the "American West" nicely with Spain. "The Proposition" also has excellent desert photography. Check out my film, "Dead Lonesome" for some desert photography. Part One: Part Two:

Yeah, t'hell with that.

Have a chance to see Dark Knight in IMAX tomorrow but on a Dome Theatre. How would would it play? Would it be better to see it on a flat screen?

Thanks Matthew, I have no doubt that you are right about this. I'm so use to wrapping my film mags with a reflective space blanket I wasn't considering that air flow is critical in keeping the RED cool. However in the blazing sun in the Southwest, where I do most of my work, I'll have to make a barney of sorts for a space blanket that assures air-flow will not be inhibited.

When I'm spending nearly $20,000 for a camera that's supposed revolutionize the industry and render "obsolescence obsolute" it had better damn well come with it's own built-in heat sink it needs one. If a guy has to tape or wire some clumsy copper eyesore to his camera so it won't overcook... you can take it to the bank that this thing will be obsolete in a big hurry!

Thank you for all of the replies. I'm feeling a little better about the overheating issue. I have no problem with wrapping a space blanket over the camera. I do it quite often with my film cameras. My worry has been a camera overheating when working in a tolerable production environment. There is no way I would feel comfortable purchasing and hiring out this camera if it is going to blow its radiator on a typical job. I have an bigger problem buying 3rd party equipment, such as a heat sink, for a product that should otherwise operate reliably in a tolerable environment. I

I am expecting to take delivery of a RED ONE in mid-September. Since the camera's release there has be much said about its electronics overheating. I have been following this problem and other reliability issues throughout the year with some worry. Back in early June I called RED and was told by somebody in the office that the overheating problem has be taken care of. Now a month-and-a-half later it sounds like problem does indeed still plague a number of cameras out there and some are saying that solution will be addressed and fixed with the release of the EPIC. If that's the case, where does that leave current owners with faulty, unreliable RED ONEs? Upgrading to an EPIC is not option for me. I wish a responsible representative from RED could jump in and provide us with a NO BS answer to this problem. IF the RED ONE's overheating lies with faulty electronics with no inexpensive remedy, I'd like to know before I take the plunge in September. Thank You

RED's EPIC could be what the Lisa or the /// was to Apple.

It is highly probable fact that most the most freakishly unstable fanboys over there rarely make much money in their "profession."

That looks pretty sweet. Any idea how much they cost? Web site says they only sell in sets of two for MB-14. I want one, fine-medium in 4x5.6.

Hubba. Hubba.

Hubba. Hubba.

Wow! Now that is interesting. Hmmm, so how did Phillip Seymore Hoffman pull of that gag, because it was done exactly like that other poor dudes?

Just watched Punched Drunk Love . Does anybody know the story behind "Mattress Man Commerical?" Sure looks real and surprised Phillip Hoffman didn't bust his head apart. Guess maybe the guitar broke the fall between his face and asphalt. What makes it seem a little fake is that only four people ran to his aid and they looked like the four greaseballs who work for his character. If that fall was for real then it's probably the funniest thing I've seen this week. (Because he got up and walked it off.)

Does anybody know if "Thin Red Line" has any upcoming DVD release-- such as Special Edition or Blue-Ray release? The version I have is from 2000-2001 and as far as I know that was the last time it was released on DVD. You'd think a film like that would garner some sort of Double Disc release.

IMAX projectors won't be as impressive when they become toy-like boxes that can wheeled around on an A/V cart.

This is what I thought and I hope your are right. Canon (don't know about other DLSR's) have a setting where you can shoot "B&W" images using good old fashioned #29, #16 and all the other traditional B&W filters. Results are pretty good. Like Adrian said, the images are "too clean." This is even more critical with moving images. The grain and texture is what gives B&W film its character. Not sure if RED offers this sort of setting like Canon, but I can work with the image in post (kind of defeats the purpose of shooting B&W, really. Maybe I should suggest shooting B&W film and get the real thing. But then I won't be making money with my RED on this job. Kind of a catch 22.

Has anybody had any experience or seen any footage converted to B&W that was shot with the RED ONE? IF I get my camera before mid August I might have a project that will be shot 2.35 B&W. I've set up a Canon 20D and 5D to shoot B&W and it looks pretty good-- but have heard nothing about how the RED handles B&W. Thanks

Hello Michael Thanks for the info. The number of cameras Arri had was one of the main things I was curious about. I've found a little info. on the web, but surprisingly, not much. If anybody might have any documents they'd share, please post them or PM them to me if you don't mind. Thanks, again.

FILTER SALE CATALOG ALL FILTERS ARE TIFFIN W/ THE EXCEPTION OF THE H&H CORAL SET 4X5.6 -- $50.00 EACH PRO-MIST 1 WARM PRO-MIST 1 85 (2) 85N9 80D 812 SEPIA 1 CHOCOLATE #3 POLARIZER (4X5.6 RECTANGULAR) 4X4 -- $40.00 EACH (OR) $200.00 FOR COMPLETE CORAL SET H&H CORAL 1/8 H&H CORAL 1/2 H&H CORAL 3/4 H&H CORAL 1 H&H CORAL 2 H&H CORAL 3 BLACK PRO-MIST 1/2 3X3 -- $30.00 EACH GRADUATED ND 9 POLARIZER ANTIQUE SUEDE 1 SERIES 9 -- $25.00 EACH 81 EF If you have an questions, please email me at joe@FarNorthRaid.com or phone at 641.814.2860 You can also download the catalog as a Word Doc FILTER_SALE_CATALOG.doc

Hello Here is the list of Filters I have for sale. I have also attached the Filter Catalog as a Word Attachment for Down Load. Feel Free to email me at joe@FarNorthRaid.com or phone at 641.814.2860 FILTER SALE CATALOG ALL FILTERS ARE TIFFIN W/ THE EXCEPTION OF THE H&H CORAL SET 4X5.6 -- $50.00 EACH PRO-MIST 1 WARM PRO-MIST 1 85 (2) 85N9 80D 812 SEPIA 1 CHOCOLATE #3 POLARIZER (4X5.6 RECTANGULAR) 4X4 -- $40.00 EACH (OR) $200.00 FOR COMPLETE CORAL SET H&H CORAL 1/8 H&H CORAL 1/2 H&H CORAL 3/4 H&H CORAL 1 H&H CORAL 2 H&H CORAL 3 BLACK PRO-MIST 1/2 3X3 -- $30.00 EACH GRADUATED ND 9 POLARIZER ANTIQUE SUEDE 1 SERIES 9 -- $25.00 EACH 81 EF FILTER_SALE_CATALOG.doc

Even though there are just a few 70mm theatres out there, the quality of 35mm reductions from 70mm still surpasses material originated on 35mm. A film could be shot in 65mm, marketed as such, have its premiers and road shows projected in 70mm. Furthermore the megaplexes would benefit by showing superior 35mm prints of their epic that was created from a pristine 70mm negative. HighDef versions would be created from scanned 70mm sources, marketed as such and the studios would not be lying about the superior picture. In HighDef, it would so evident. Look at "2001" on a good HighDef set. 70mm has a look that's all its own. I think it is an awesome idea-- and I still elect that "Blood Meridian" be given the treatment-- sans Ridley Scott. A picture like this needs a fresh vision. Coen would be a superb choice. A picture like this would bring back the days when a big film was an event.