Welcome to NWFS

1. 1st 16mm camera
I will be purchasing my first 16mm camera, and I had some questions. I have a budget of $15,000 through American Express Equipment Financing, and I am interested in getting the best package I can for the purpose of making 16 mm (or Super 16mm) indie films. I own a recording studio, so I knowledge about recording sound just not in terms of cameras (sync etc.) I know Arriflex, but I have little experience with the 16S, 16BL, and SR3. I have even less knowledge about Bolex. So ultimately my question is this ... can you suggest the best set up with these budget requirements?

2. 24fps-25fps
I was recently doing sound postproduction for the movie done with 16mm camera. the movie has been transferred on beta tape, than edited in PC computer PAL (which means 25fps). When I finished I transferred soundtrack on the TASCAM DA 20 and sent it to the laboratory. for editing and 35mm blow up. Because of the frame difference the sound was slightly (but noticeably) pitched down. Is there any way to avoid this without using expensive sync equipment?

3. Brand Usage and Product Placement
I have a question about product logos, copyrights. We are making a movie that will be shot in an actual deli that house many household food/ products (ex. Coca-Cola, Land O'Lakes butter, Friskies cat Food, so on........so on).

My question is can we shoot our story with these products visible in the background. The story will not put these products in a bad light. Matter of fact it is a deli where these products sell.

Can we shoot without focusing ion these labels or do we have turn the products away.

4. Budgeting an indie film
We have produced a number of scripts for TV. In essence we have, almost accidentally, put together a series of spoofs on the political and social situation in South Africa (where, believe me, people need desperately to start laughing at themselves). Because we've taken a slightly off-the-wall approach, the main-line producers find the lack of a familiar formula slightly disconcerting and too risky. So, in complete ignorance and arrogance, we've decided to produce at least one episode ourselves, and then take it from there. What I need now is to work out a budget! Can you help me with any examples, or standard budgets that I can adapt for our situation?

5. Buying Rawstock
I was looking for a good source for 16mm raw stock. I found your site but am not sure as to whether you sell raw stock or just have general information. Ordering information was mentioned on the production page, but I didn't see any additional information on how to order. Do you sell raw stock and if you do how do I order it?

6. C-mount Focus
It dawned on me recently that if a C-mount lens is screwed in too far or not far enough, even by a hair, the focus will probably be off. How can I optimize focus in a non-reflex 16mm camera?

7. Copyrighted Music
I had a few questions about using copyrighted music. Is it necessary to clear all music if an extreamly low budget video maker to run on cable access or video festivals? If so how do I go about this? I'm still on the very low end of the budget spectrum. My budgets are usually around 100 dollars and I edit on my computer (Adobe Premiere), so would someone like me be required to pay royalities? I'm really interested in showing some of my movies to a larger audience, but I've always been paranoid about the music thing. And anytime I've asked around I usually get vague answers concerneing the subject. I would appreciate any help you could give me.

8. Counting Off-Screen Characters
If I have a character that has one line in one scene and a second line Off-screen (O.S.) in a different scene - how do I count that on the cast report in reference to Character/Dialogues/Speaking Scenes/Total Scenes?

9. Crystal Sync Nagras
Are all Nagra 4.2's crystal? My assumption is that they are, but it seems prices vary so much (I know that's related to condition and such). Can you tell me anything about the differences between Nagra 4.2, 4, and 4L?

10. Cutting a Dialogue Scene
When cutting a dialogue scene between two people, how do you know when to be on the person talking and when to be on the person listening?

11. Defining the Deal Memo
What is a Deal Memo and why do I need cast and crew to sign it?

12. Defining the Montage
What is a montage?

13. Eclair ACL 16mm
I'm seriously interested in an Eclair ACL crystal sync camera. It seems to be a decent camera from what little info I can find about it. I really like the fact that I can upgrade it to super 16. It's also shoulder mount and in my price range.

Any input on this subject?

14. ECN-II skip bleach
I'm shooting a feature and my DP wants to skip bleach in the negative processing. du art, cfi and the giants don't do it.

Know of a reliable one that does?

15. Editors vs. Splicers
I'm just getting started and I want to know more about editors. What is the difference between film editors and splicers? Can I edit with just a splicer? I need help!

16. Film Camera for Shorts
My questions for you are...
A). What is a good, user friendly 16mm camera to start on for independant[sic] short films? I am interested in something flexible... variable speeds, attachment options, ect...
B). Is it worth while to purchace editing equip. or should I just use rental suites?
C). Is 16mm still a good format to use or is it going to become the dinosaur that 8mm has become?
I hope you can help me out with my novice questions, I am anxious to get started on using film cameras rather than video. From what little I know your prices look pretty good and maybe you have something I could use.

17. Film Editing Equipment
I'm looking to buy some 16mm editing equipment as it seems mush cheaper than renting time at an editing house. But, being rather new to this, I'm not sure exactly what I need. I'm assuming I need a splicer, a viewer, a sync block and a rewind. Is this all? You seem to have a wide range of splicers available; what are the differences? I see you also have a Zeiss Moviscope for sale. Is this just a viewer, or does it an all-in-one type thing? Thanks a lot for your help,

18. Film Underground
I don't understand why you would use the word underground in the title of your site. A film festival section devoted to Sundance is hardly underground at all. It's Indie Hollywood. Underground is more along the lines of the NY Underground Film Fest as well as the one in Chicago and various other venues which offer screening opportunitites for marginalized, non-commercial, uncategorizable movies. Sundance is just huge. After all, they have their own cable channel and are spearheaded by Robert Redford. How non-conformist is that?

19. Flatbed Editing vs Avid
I am producing a 30-35 min showcase film. I've figured that I'll edit it the old way that is on a Moviola flatbed because rates are very cheap in NY for that. ($7-$8 / hr). I do want to send the film to festivals and a lot of them accept actual 16mm film (beside the VHS for preview)

The reason that I'm asking all these questions is because I'm trying to figure out how much will it cost me to post the film. So transfering the film to Betacam for Avid editing and then transfer it back is not much of an option for me due to the fact that I can only afford $13,000 budget for this movie. The shooting ratio is 5 to 1, the sound will be recorded on DAT. Any advice?

20. Handshake Legally Binding
I'm getting ready to edit an independent feature and I have just found an editor that is willing to do the work for next to nothing. The problem is that I'm getting some interest from some independent distributors and I'm not so sure I want to go with this editor anymore. If I shook hands on the deal am I obligated to honor it?

21. International Distribution
What is "international distribution with financials"? I'm unfamiliar with these terms and I'm try to do some research into distribution deals. I would appreciate an answer you can give me.

22. Lightmeters with Modern Cameras
I read in a book that you should always use a light meter when shooting video. I asked a guy at the local photography store and he said I didn't have to worry about it. Which one is right?

23. LTC vs. VITC
What is the difference between VITC and LTC Timecode and which one would you advise using?

24. Music Copyright 1
if I'm making a film can I used copyrighted music if I'm only going tos end it into film-festivals?

25. Negative Transfer
I´m an independent filmmaker in Mexico and I´ll be making a b/w 16mm short film. Some people have said to me that there are film labs that transfers the negative straight to video making a positive image on video without the extra cost of having to make a positive film print first. I´d like to know if this is correct and what the transfer quality would be. I hope you could help me.

26. Negative vs Reversal Stock
What is the difference between color neg. and color reversal film and which is better?

27. Opticals and EFX
I've got a my first formal film project coming up in a few months and I'm trying to educate myself on the whole post-production process of the use of timecode, key code, and editing to conform the negative for a finish on film.

I have been using Premiere for years, I know it by heart and I have my own editing system. I can drastically save time and money by using my own computer. I believe that using a window-burn for timecode is my best bet. My question is, is it possible to use only a window-burn and still be able to conform my EDL for a film finish? Is there a generic EDL export that Premiere uses that a lab can work with?

What about compositing, titles or other opticals. After I have the production sound resolved to 29.97fps, how does it fit in with the conforming of the negative? Help!?

28. Phone Recording
I'm making a film that requires the recording of a live phone coversation. Obviously, one end of the phone will not be hard to record. But getting the other voice on there and make it sound like authentic phone conversation is proving difficult. i have thought about just recording both people live and then cut back and forth throughout the conversation via editing, but it goes back and forth enough to make somebody dizzy. Any suggestions for a low, low budget amatuer?

29. Post Syncing for Film
Again, thank you for the wealth of advice you've been giving me on my short film. I am two weeks away from shooting. Here in NY I'm thinking to process the film at DUART, because they do cater to NYU students by offering a discount. It's also good to introduce yourselves to a sales rep. I don't know how are they going to be taking care of my film when it moves to post. I'll let you know. But, meanwhile, burning question. I'm gonna be developing the film and transfer it to video dailies with Timecode for the eventual negative cutting. However, when it comes to syncing sound DUART will do it for video dailies at a rate of $110/hr. That is a lot!!!! Is there any other way beside syncing on a flatbed? I mean for 6000 ft of film at $110/hr that's gonna be about $1,100.00!!!!! Non-discountable!! Help!!

30. Preselling Distribution
I was thinking of including it [Australian Distribution rights] as part of the compensation package to a potential DP, who is too expensive for me to hire at full rate but (since he is Australian) he might see the Australian rights as something of real value. My concern is that I don't know how the foreign sales world works and, if I end up with a good but marginal product, will I have shot myself in the foot by having given away a valuable English-speaking market and make my film an unwanted commodity. (I realize that if I manage to produce Pulp Fiction it won't matter -- and if my movie is awful it won't matter -- but I'm betting on a more mixed outcome).

31. Product Fee
Could you give me an idea of what to charge sponsors for product placement? How is the cost determined? Should filmmakers guage it by how many seconds the product is in view; how close the shot is; whether the lead character uses the product throughout the film, ie. brand-name clothing, and cheaper rates for minor characters being connected to product?

Is there some sort of advertising industry standard or guideline for product placement in films, or is it all negotiated between the producer and each individual sponsor? Thank you.

32. Resolving Audio
I have a technical question - I want to shoot s16 - then dump it to Avid - create an EDL - then cut an answer print. I was told by the Post-Production house that I have to then transfer my s16 answer print back to avid - make the soundtrack on protools(myself - because of low budget) and synch it to the avid - and then they would create the 35mm optical track synched to the soundtrack(+timecode). I am concerned that there will be synchronization problems because of the difference in frame rates - and so blow my optical soundtrack...can you help?

33. Running the Casting Session
I am a novice director and I am planning on doing a casting session for my short film. Some of the actors will be experienced and I need to know how to do this right! Can you help?

34. Selecting a Boom Microphone
i have a question i hope you can answer. i am producing a small feature on an xl1 (with an xlr adaptor), what is a good boom mic to purchase and do YOU sell them? to rent or buy? and about how much am i looking at in terms of cost? i want a good mic with good sound. i was told that the sennheiser 416 is good. what about boom poles and zepplins? please get back to me asap.

Is there a difference between a boom mic and a shotgun mic?

35. Shooting a Highway Sign
I want to film a highway sign that says "You are now entering Bellingham" or one that tells how many miles more until reaching upcoming cities. Do I need to get a release form signed and who do I get it from?

36. Short Ends and Recans
I found film for .14 cents a foot, it is short ends, do you forsee this causing problems?

37. Sound Mix ETA
...the film will be roughly 33 min long. A thesis. Dialogue, yes. We still haven't shot it. But as the small time producer I don't know what's a rough price for sound mix in post. As I'm budgeting it right now it will cost about $13,000 without answer prints or final mix. Help!

38. Squibs
Hi, I'm a begining film maker and planning out my first 16mm short story project, and I've run into a snare. In my script it calls for the use of squibs (several charactors get shot at at close range), and I can't afford the REAL "deals". Is there anyone out there that can give me guidance on making my own with fairly easy to find (and fairly inexpensive) materials?? If you have any ideas or suggestions, they would be greatly appreciated.

39. Storing Film Stock
If I use reversal film, contrast would decrease when I do push process. Is it true? I heard from a friend of mine he said he read contrast decreases. Please let me know the answer. I am sure I know the contrast increases when I use negative push process.

Second, usually, I think people keep raw stock in refrigerator if they don't have real stock place, stable humidity and temparature. I should do same thing? I really care about food and drink in refrigerator making film so bad. How can I keep raw stock? Do you have any recommendation?

40. Sundance Alternatives
Do you know where I would get information, contact numbers, web pages, ect. concerning slumdance, undance, nodance, slamdunk and other alternatives to Slamdance/Sundance?

41. Super16 Blowdown
I've made a short film that I'll be intering in festivals soon. One issue that's come up is that the film was shot on Super 16 and the festival we're entering first (U.S. Comedy Arts) only accepts 16 or 35. Blowing up to 35 is very expensive. But I heard that they can "blow down" super 16 to 16. Have you heard of anyone doing this? How's the quality?

42. Syncing DV to DAT
Is it true that digital video(Canon XL-1 Mini DV) runs at a different speed than DAT recordings, making the task of synching up the sound to the video very difficult? And if so, any suggestions on doing this?

43. Syncing without Timecode
I'm shooting a film, and wanted to know if I could record dialog on a non timecode dat or even a minidisc recorder, and rerecord the sound in bulk to a timecode dat, then sync up the video transfer of my film with the sound on an avid. Is that the way to do it cheaply but effectively? I've heard conflicting reports as to how well sound can be synced to a video transfered picture because of the change in frame rate. Also, when people refer to sound needing to be resolved, is that just aligning the sound speed to picture speed? We would really appreciate your consultation, so when we start filming next week everything will be fine, and we can shoot in confidence!

44. Testing Sync
I was browsing through your pages on camera testing and I was wondering if there was a way to test a camera for crystal sync accuracy? The only way I can think to do it is to shoot the film with sound, develop the film and see if the sync runs off. Do you know a better way?

45. The Kind of Camera You Should Buy 2
What digital video camera should I buy?

46. Top Sheet Budget
Do you know the difference between a top sheet budget and a full budget?

47. Transferring Positive
I am a music video director, who has always gone from the negative straight to video in the telecine, and I am wondering how printing the film before the telecine would change the look of the image, in terms of slickness, contrast, and color?

48. Treatment Format
One of my associates and I were discussing what a treatment entails and its format. We are both novices when it comes to movie scripts. If possible, could someone please E-mail me as to what is the correct format for a treatment, what does it include, etc.?

49. What to Do with Used Film Stock
I represent CACTUS FILMS, a Houston-based film production company. We recently switched from 35mm (Fuji Film) to HD 24 P after one week of shooting, and now have an extensive inventory of film stock remaining. Much of it is still factory sealed, some is recanned and some are short ends (in excess of 200 feet). Could you please advise who purchases unused film stock at a fair price?

50. What to Pay for Short Story Rights
I'm interested in getting rights to make a short film based on a short story. I have no distribution in mind, only that it would make a good short drama. The author is deceased and the story is published in several anthologies.

I'm interested in an approach that will cost the least, but I have no idea what the norm is for this kind of thing.

I once approached a publisher about another story. They would not set an amount and I didn't know what was the norm or the best way to structure the deal and I dropped it. This time I want it.

51. Wild Sound with the Arri S
I do not have a problem shooting with an arri s and recording sound "wild"-in fact if you transfer film to vhs you can do all sorts of things with sound while you edit-re record dialogue, add ambient sound, add music,etc-crystal sync is great but it is not the only way to go as i see it.

52. Working with the Casting Director
If I need name talent to secure funding and I need funding to secure name talent, is the Casting Director the person that breaks this deadlock?