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Author
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Topic: Shooting Movies w/Still Camera
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John Hawkinson
Film God
![](http://www.film-tech.com/ubbmembers/1135b.jpg)
Posts: 2273
From: Cambridge, MA, USA
Registered: Feb 2002
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posted 06-06-2004 08:54 AM
What's your real goal?
If it's to have a 35mm 4-perf movie from your digital files, you're probably better off finding a somebody with a 35mm slide film recorder (e.g. local copy shop, photo lab, etc.) and paying them whatever nominal fee they charge for a roll of 8-perf slides. It'll certainly solve your registration problems, as well as exposure, and a myriad of other factors, and reduce generational loss and color problems from the paper step.
On the other hand, if your goal is to mess around with your camera, well, OK .
--jhawk
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John Pytlak
Film God
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Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 06-07-2004 01:37 PM
http://apartment42.com/album2a.htm
quote: "We made two sets of mine cars in different scales. The small ones of course, and some larger for high speed shots where we actually had to shoot with real models flying through the air. The smaller ones we were shooting stop motion using animated puppets, but when they come off the rails we have to be able to shoot at high speed.
"In shooting the miniatures, we used Nikon still cameras. I wanted to keep the scale down as far as possible to reduce the length of the sets and it occured to me that we could use a Nikon. Mike McAlister, who shot all the miniature sequences, worked on ways to steady the Nikon and put a larger magazine on it. Everything was dictated by the smallest camera we could devise, and it worked great. We could have spent $100,000 on building a special new camera, but a slightly modified 35mm Nikon with 30 feet of Vistavision film shooting at one frame per second worked perfectly.
"We shot single frame stop motion so that Tom St. Amand could animate the puppets each shot, and eventually Bruce Nicholson, who did the optical work, put a little "shake" into each element. This matched in with the live action footage shot in England on the full size set, where everything was shot "shaking" on that sequence to give the impression of speed and danger, as if the cameraman was actually in jeopardy shooting it."
http://www.theraider.net/films/todoom/making_7_bibliography.php
quote: American Cinematographer, July 1984 has an article.
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