Super 16 cameras

[Anthony Gutierrez]

I am so very glad you just said that about lubing the gears –
several times last night I kept telling myself – “let’s go fire up that camera and see what happens.”
and each time I started to prep it for a test fire – i got distracted. THANK GOD!

Anthony Gutierrez
I shoot I edit I burn
Dallas, Texas
tonyvisiontexastv@gmail.com
http://www.imbd.me/anthonywgutierrez
facebook.com/tonyvisiontexas
facebook.com/tonyvisiontelevision

[Todd Terry]

Cool… it’s not just the motor-to-shutter drive train, but you’ll want to make sure the film movement hasn’t had its lube dry up as well… and also the servos that control the lens.

One thing I wanted to note… I did find that on very long sound takes (takes that were a couple of minutes long or longer) that my camera’s speed wasn’t dead-on accurate 100% even though it was crystal-controlled at 24fps (you’ll want to make sure the little 24 or 25 plug is installed in the battery box). The good thing is the speed was constant, it didn’t waver… it just wasn’t accurate.

I mostly produce television commercials where takes are short so it didn’t matter one bit, but the few times I needed really long takes it did. So… whenever we did long takes we would do a tail slate as well as one on the head. With the two slates, we were able to adjust the speed of our audio track so that the length between the two clapper marks was exactly the same as the film, and then everything stayed in perfect sync. Hopefully that was just an anomaly of my particular camera, but it is something you might have to watch out for. It might be that our 24fps audio recording was actually 23.976, whereas the film recording was a true 24fps… or maybe the film was shot at 24fps but the lab telecined it at 23.976…. I’m not sure where the problem was. But if you do long takes I’d definitely do tail slates as well until you know how accurate your speed is.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com