FILM DEPARTMENT FILM, VIDEO & SOUND HANDBOOK

Transcription

1 FILM DEPARTMENT FILM, VIDEO & SOUND HANDBOOK

2 ACADEMIC CALENDER FALL 2010 August August 30 September 6 September 14 October November November 12 November November 22 November November 29 December 10 Fall 2010 orientation Fall semester classes begin Labor Day holiday Last day to add/drop Fall 2010 classes Midterm grading period Spring 2011 priority registration for continuing MA, MFA, and PB students Last day to withdraw from courses with a W Spring 2011 priority registration for continuing BA and BFA students Spring 2011 early registration for new students begins Thanksgiving holiday Spring 2011 early registration for non-degree students begins Fall semester classes end SPRING 2011 January 3 January 3 January January 14 January 17 January 18 February 1 February 21 March 7 11 March April 8 April 6 7 April April 18 April 25 May 9 May 13 May 14 January intensive classes begin Last day to add/drop January intensive classes Spring 2011 orientation January intensive classes end Martin Luther King Jr. holiday Spring semester classes begin Last day to add/drop Spring 2011 classes Presidents! Day holiday Midterm grading period Spring break Last day to withdraw from courses with a W Summer and Fall 2011 priority registration for MA, MFA, and PB students Summer and Fall 2011 priority registration for BA and BFA students Summer and Fall 2011 early registration for new students begins Summer and Fall 2011 early registration for non-degree students begins Spring semester classes end Vernissage: MFA Graduate Exhibition opening Undergraduate Spring Show opening Commencement 2

3 Table of Contents Who!s Who (Academic Support).. Page 5 Equipment Checkout and Reservation Hours Page 6 Film Equipment Checkout Hours of Operation. Page 7 Equipment Instruction... Page 8-9 Equipment Reservations.. Page 10 Reservation Restrictions.. Page 11 Group Projects & Narrative Production.. Page 12 Returning & Penalties for Late Returns.. Page 13 User Responsibility & Safety... Page 14 Student Employment Opportunities. Page 15 Film Department Studio Usage Page Edit Room Page 19 Studio X Page 20 Summer Hours Page 21 Appendix A (Work Flow Chart for 16mm).. Page 22 Appendix B (Equipment Inventory). Page

4 Welcome Welcome to the San Francisco Art Institute Film Department! Use this Handbook as a guide to help us help you meet your needs for all of your future film, video, and sound projects. PLEASE take advantage of the staff and faculty for advice. My office is always open to questions and concerns about your work. Let me help you find the appropriate equipment to make your work be the best that it can be. -Brad Hoffarth Film Equipment Checkout Supervisor 4

5 Who!s Who (area 1 academic support team) Film Department Chair Lynn Hershman-Leeson lhershman@sfai.edu Area 1 Manager... Film, New Genres, D+T & Photo Film Equipment Checkout Supervisor Film Studio Booking Film Equipment Checkout/Training Film Classroom Support General Film, Video & Sound tech support Equipment Technician & Studio Coordinator Film/New Genres... NG Studio Booking NG Equipment Checkout (in-class only) Studio X Film Processing General Film, Video & Sound tech support Jen Wainz jwainz@sfai.edu Brad Hoffarth bhoffarth@sfai.edu Mauricio Ancalmo mancalmo@sfai.edu Photo Department Coordinator.. Zoe Wesenberg zwesenberg@sfai.edu Photo Studio Booking Photo Equipment Checkout/Training Wet lab supervisor Studio 8 & Scanning Authorizations Academic Computing Manager DMS Computer Lab / AV Suites Booking Jeremy Hobbs jhobbs@sfai.edu Media Support Manager.. Sasha Dobbs sdobbs@sfai.edu Lecture Hall Booking AV Checkout: on-campus use only projectors, laptops, speakers, media decks, PA system Classroom technology support Consultation for projects 5

6 Film Equipment Office Film, Video & Sound Brad Hoffarth Film Equipment Checkout Supervisor Checkout Office: Reservations / Edit Room: Step 1: Training Set up an appointment. Give yourself 72 hours for full training and testing. Stop by the Film Equipment Checkout Office or the Booking Office to make an appointment. Film Checkout Office: ; By Appointment Step 2: Reservations Call or stop by the booking office to make a reservation. Studio 25, Film Edit Room: ; M F, 12-4pm Step 3: Checkout Plan ahead! Be well prepared for hauling and storing large amounts of heavy equipment. Get friends to help. Filmmaking is often a team effort. Film Checkout Office: ; M, TH, F, 12-4:30pm Step 4: Return You will take full responsibility for the care of this equipment. Bring it back on time and in good well-organized condition. Be respectful of others with whom you share this equipment. Film Checkout Office: ; M & TH 9-11am 6

7 Film Equipment Checkout Hours of Operation EQUIPMENT CHECKOUT DAILY ROUTINE Monday, Thursday, Friday *Tuesday & Wednesday are reserved for equipment maintenance, class demos and training. Morning Noon / Lunch Afternoon Equipment Returns 9 a - 11 a M & TH Reservations in Booking Office 12p 4 p M-F Reserved Equipment Checkout 12 p 4:00 p M,TH,F End of the Day Late Bookings w/o a Reservation 4 p - 4:30p M,F INSTRUCTION AND TESTING (by appointment only) 11 a 2 p Monday - Friday RESERVATIONS at the Booking Office Monday Friday 12-4pm ADVANCED BOOKING EQUIPMENT CHECKOUT Student Booking Monitor Brad Hoffarth, Supervisor Edit Room Studio 25 Equipment Checkout Office Film Department Film Department 7

8 Equipment Instruction (Open to ALL Students and ALL Departments) Equipment Equal Access The San Francisco Art Institute has a very unique equipment checkout program. Rather than restricting equipment and equipment instruction to specific classes, SFAI allows all students from all departments to learn how to use all of the available equipment for checkout. You!ll find that this frees up class time for instructors to concentrate on theory and critique, while providing you with a customized learning experience on whatever equipment you need for your work. Customized One on One Instruction Experienced staff and student workers provide in depth tutorials on every item of equipment available for checkout. Use this time to make friends and connections, discuss your projects, and open a dialogue about what you want to accomplish at SFAI. Most equipment requires a one hour appointment for instruction and a follow up testing. We show you how to use the equipment and then you show us. This way you!ll know the equipment inside and out and, despite heavy usage, our equipment will last a long time. Monday Friday 11am-2pm By Appointment Only Call: Equipment Checkout Office or: Reservation/Booking Office Make an Appointment You can sign up for instruction or testing in advance through either the Checkout or Booking offices or you can just stop by to see if there is an opening for training on the day you wish to receive it. After your instruction, you will be asked to come back the next day or later to be tested - instruction AND testing on a piece of equipment cannot be done on the same day. Since this procedure can take several days (or longer if that piece of equipment is checked out), please allow yourself ample time before you need to use a piece of equipment. INSTRUCTION ON FILM DEPT STUDIOS IS ALSO DURING THE POSTED HOURS. 8

9 MORE ON INSTRUCTION AND TESTING There is an instruction and testing procedure on most film facilities, as mentioned earlier. You will receive individual instruction from a student instructor, who has been thoroughly acquainted with all of the facilities and equipment in the department. Assuming you are new to the equipment, they will take you through each aspect of its operation. You will then be asked to return either the next day or later and demonstrate your proficiency by passing a test given by another (often different) equipment instructor. After you pass the test, you will be able to book that piece of equipment or studio. PLAN AHEAD!!!!! Try not to feel pressured into learning everything at once. It's best to wait until you think you might use a piece of equipment before taking the instruction. This type of knowledge is reinforced well if it is backed up with practical experience. And you will be asked to retake the test if you want to book something that you haven't used one year since passing the test. There are instruction manuals for most equipment in the Film Office and Checkout Room to refresh your memory or assist you in preparing to pass the test. Please keep in mind that the instruction and testing procedure can become congested at certain points in the semester. Allow yourself enough time to take the instruction and pass the test before you need to book something. This will take at least two days and sometimes longer if the equipment is checked out that day, or the instructors schedule is full (which is common at the beginning of each semester). Appointments for equipment instruction are made in the checkout room and in the booking office or just walk-in to see if a spot is available. There is always a chance that the equipment may be gone, but it rarely happens. However, you should be prepared to have an alternate piece of equipment in mind. MAKE TIME TO TRAIN AND TEST SOMETIMES SEVERAL DAYS Obviously some equipment and facilities are more complicated than others, and require more instruction time. For instance, the Bolex instruction usually takes about one hour, and the JK Optical Printer can take two hours. Find out from the instructor when you schedule your appointment about how long it will take, so you can allot yourself enough time. The amount of time to complete the test varies, according to how well you know the equipment. When you pass a test, you'll receive a note from the instructor. Bring this to the booking secretary and make sure it gets noted in his/her book. This is your responsibility. No equipment will be booked if the test is not on record. Almost all equipment requires a test. 9

10 Equipment Reservations Make Your Reservations Monday-Friday: 12-4pm Call: In Person: Studio 25, Edit Room, Film Dept PLAN AHEAD Equipment can be reserved as much as a month in advance, and should be reserved as far in advance as possible for your own convenience. Please make your advanced reservations during the posted booking hours of 12pm-4pm MONDAY - FRIDAY with the booking secretary down the hall from Equipment Checkout in Studio 25 (the film edit room). LATE BOOKINGS without a reservation are also available, but limited, during afternoon checkout hours after advanced booking has ended. ADVANCED BOOKING IN PERSON Booking your equipment in person is the preferred method of reservation. By communicating directly with the staff you will gain insight and service well beyond a phone conversation. We like to attach names to faces and we are happy to discuss your needs at length. The Booking office is in the Edit Room (Studio 25) just down the hall from Equipment Checkout in the Film Department. It is open 12pm-4pm Monday Friday. TELEPHONE ADVANCED BOOKING If you cannot be here in person to make your equipment or studio bookings you can phone your requests from 12pm-4pm Monday Friday. To make a phone booking, call the booking secretary at The phone at the booking desk is only connected during the posted phone booking hours and will not ring if you call too early or too late. Often the line will be busy, or the booking secretary will put you on hold if there are people at the booking desk. Please try to be patient. If you easily get frustrated, you might find booking in person to be more convenient. LATE BOOKING w/o a RESERVATION (4pm-4:30pm) M and F If you miss Advanced Booking hours, you may still book equipment at the checkout office after 4pm. Whatever equipment is still available at the end of the day may be checked out. Late booking is ONLY during checkout hours for immediate checkout. No walk-in checkout on Thursdays FORFEITED 4:30 End of the Day. If you fail to pick up reserved equipment by 4:30pm, it will be made available to other students. 10

11 RESERVATION RESTRICTIONS 1. Enrollment is Required: Students must be currently enrolled in class for the semester that they request equipment. A valid Student ID is required for reservation and checkout. 2. Complete Instruction and Testing: Students must complete an official training from the Film Equipment Checkout office. Class demos do not count. 3. Remain in Good Standing: Consistent tardiness for returns, missing or broken equipment, fines, or any other negligence on your part will result in the loss of privileges. These issues must be resolved before checkout can resume. 4. One Checkout Item Per Person (Plus Accessories). For the most part, you can only checkout one primary piece of equipment at a time. In other words, you cannot checkout two cameras. You cannot take more than one camera + one audio recorder + 1 small light kit at a time. 5. One Reservation at a Time. You may only have one primary camera or audio recorder booked at one time. For instance, if you book the Canon 1014XL-S Super-8 3 weeks in advance, you cannot book a Bolex or any camera until you've used the Canon and returned it. This policy also applies to Sound Equipment - only one audio recorder can be booked at a time. 6. Special Items and Group Checkout. Highly sophisticated equipment or large heavy equipment, such as the Arri HMI lights or Kino Flow, require multiple students to test, reserve, and check out the equipment. Students working on large group narratives are restricted from checking out multiple items during production. Students working on large projects must coordinate multiple students to checkout multiple items in a team effort. 7. Group Projects and Extended Checkout Reservations: 30 days notice and special permission is required. See details below 11

12 GROUP PROJECTS and CONVENTIONAL PRODUCTIONS PROJECT PROPOSALS FOR EXTENDED PROJECTS Large group projects must be coordinated with the checkout supervisor. Such projects often require submission of a proposal and negotiation over what rules can bend. SFAI encourages these ambitious team efforts by students, but we also need advanced warning so arrangements can be made. Please give at least 30 days notice for large projects that involve several equipment items. Group Booking and Multiple Users Some equipment requires multiple students to check out the equipment. This is because such equipment is of such a sophisticated nature, that it requires multiple operators. This lessens the risk of damage and/or misuse of the equipment and it ensures that you have someone to help you transport the equipment to the shooting location. The following items require multiple users: - Éclair NPR 16mm camera (2 students) - Hollywood Lite SteadiCam (2 students) - Arri HMI Lights (2 students) - KinoFlo Lights (2 students) Restrictions on Group Reservations and Conflicts with Personal Projects Students working on group projects are responsible for individual items reserved in their name. The same rules of equipment checkout apply to group projects. Students who check out equipment for someone else!s project cannot check out equipment for their own projects at the same time. Shared Responsibility Students must all sign out the equipment. They must all carry the equipment out together. And the Checkout Supervisor should be reasonably certain that they will be working together. YOU WILL NOT BE ABLE TO TAKE OUT THIS GEAR WITHOUT A CO-BOOKER WHO HAS PASSED ALL THE NECESSARY TESTS. The co-bookers are equally responsible, and charges and penalties will be shared equally between them. Typical Group Narrative Job Responsibilities A typical shoot with the HD Camera requires a least 12 people to operate equipment: - Lighting (Head Gaffer, HMI#1 Operator, HMI#2 Operator, Kino 4x4 Operator, Kino 2x2 Operator) - Sound (DAT Recorder Operator, Boom Operator) - Grip (C-Stand Operator, Flags Gels and Bounce Cards Operator) 12

13 Returning Equipment Three Checkout and Return Shifts Pick Up: Monday 12-4 PM. Return: Thursday before 11 AM Pick Up: Thursday 12-4 PM Return: Monday before 11 AM Pick Up: Friday 12-4 PM Return: Monday before 11 AM - Equipment Checked out Monday Afternoon will be due back Thursday Morning. - Equipment Checked out Thursday Afternoon will be due back Monday Morning. - Equipment Checked out Friday Afternoon will be due back Monday Morning. EQUIPMENT CHECKOUT SPECIAL ARRANGMENTS All equipment must be picked up by 4:30 p.m. on the first day that it is booked. If you cannot make it to pick up your equipment, please call to let us know. We can make special arrangements for students who have schedule conflicts with the above posted hours. Students must make arrangements well in advance before reserving equipment; however, such arrangements will be strongly discouraged. PENALTIES FOR LATE RETURNS If you return equipment late, someone else bears the brunt. There is almost always someone waiting for instruction or a class that is waiting to do a shoot. Equipment also requires downtime for maintenance and preparation. If you return equipment late, you will be penalized 1 day of booking privileges for each five minutes you're late. If you're going to be very late (more than 30 minutes), call the checkout office. You will still be penalized but there is a good chance you will get off with a warning and remain in good standing with the staff. 13

14 USER RESPONSIBILTY AND SAFE HANDLING OF EQUIPMENT Over the years we have had several major "catastrophes", due to carelessness. Besides the normal and obvious care involved in handling film equipment, please remember to: READ USER AGREEMENTS AND LIABILTY Carefully read and sign ALL equipment user agreements: We have a general user agreement for all of our equipment that holds students liable for any loss or damage up to $2500. We also have safety agreements and special user agreements for such things as: Studio X, HMI lights, grip closet, and the HD Camera. CAR STORAGE NEVER leave any equipment in an unattended car - even for a minute - we've had several thefts occur this way. Also HEAT from the sun will melt some equipment and damage film. LOCKER STORAGE AVOID using hall lockers: Lockers in the hallways of SFAI are NOT safe. It is best to keep the equipment with you at all times or for large items get some friends to help you take it home. GENERAL STORAGE Keep your equipment stored safe. Keep equipment cases latched during shooting sessions to prevent the equipment from being spilled. Protect sensitive equipment from harmful vibrations - equipment, like people, doesn't travel well on the floor or in trunks of cars. HARSH ENVIRONMENTS Stay away from the Beach!!!: SHOOTING OR RECORDING AT THE BEACH, near the beach, or in any area where sand is present (Desert, etc) IS STRICTLY PROHIBITED. Any violation of this will result in a $50.00 FINE in addition to the full cost of repair or replacement. Salt and Sand will manage to creep in everywhere and will ruin the equipment EVEN a small amount will ruin the equipment over time. Likewise, liquids and RAIN will seriously damage all equipment and exposure will result in a fine. CARE AND MAINTENENCE Don!t force your equipment to do something it doesn!t want to do: Avoid breaking equipment by taking a few deep breaths and regaining some patience. Handle the equipment gently. If something needs a bit of force to operate, we will make sure to tell you about it during instruction. STAY ORGANIZED Keep and Return your equipment well organized: Don!t throw everything into a case or bag. Coil cables properly, don!t wrap wires too tight around headphones, keep studio spaces neat, recharge batteries, and keep us informed of anything that does not appear to be working properly. 14

15 Student Employment Opportunities Student Workers in the Film Department SFAI is looking for students with a desire to learn and teach. If you have knowledge of our equipment and/or strong teaching skills, the Equipment Checkout office can provide you with a paid position and on the job training. Equipment Checkout Assistant Assists the checkout supervisor with in coming and out going equipment. The assistant is responsible for keeping a sharp eye for the safe return and organization of all equipment. An intimate knowledge of the large variety of checkout equipment is required and further expanded through training. Equipment Instructor This job requires excellent communication skills and a desire to teach. Instructors will be trained on each item of equipment. They will then instruct other students on usage, maintenance, and practical application. Edit Room and Booking Monitor The edit room monitor has a large amount of responsibility. This person is in charge of making reservations for film equipment checkout, checking out editing tools for 16mm and super 8 film, transferring film to video using our Elmo Transfer projector, and advising students on the usage of edit room equipment such as: splicers, viewers, flatbed editing, projectors, and processing tanks. Studio X Monitor The Studio X monitor is in charge of maintaining the facilities of the Studio X film processing lab. Duties include mixing black and white chemistry, keeping the space clean, and providing chemistry and advice to students during processing hours. 15

16 FILM DEPARTMENT RESERVATIONS See Film Equipment Checkout and Reservation Schedule 16 STUDIOS Shifts are often in SIX hour intervals, but you may stay longer if no one shows up. Students who arrive for their shift when your shift has ended should allow 15 minutes for you to finish. Authorization Slips and Keys When you book any of the Film Department Studios, your name will be put on the calendar. On the day of your booking, you will be given a key to the room, which you will be asked to sign for. Pick up Keys from Equipment Checkout. Keys are only given out on the day for which the room is booked. Keys for weekend bookings can be picked up on Friday. All keys for Monday morning shifts can be picked up after 9 a.m. on Monday. When you are through working, you must return the key to the metal drop box on the film checkout office door. If something in the room is not working for you, please let us know as soon as possible. 16mm FILM EDITING FLATBEDS Picture and sound tape are provided as well as alcohol and Q-tips to clean the machines. All other supplies such as: paper tape, sharpies, canned air, and china markers are provided by the students. Before you can reserve a flatbed for the first time, you must receive instruction on how to operate these machines. Since both the Kem and Steenbeck work differently, you will need separate training for each machine. KEM RAPID FILM EDITING SUITE (25) - right side Six plate flatbed, for one 16mm picture & two 16mm sound tracks. Optical Head or 16mm magnetic stripe. STEENBECK 1 FILM EDITING SUITE (25) - left side Six plate flatbed for 16mm only, one picture and two sound heads. Bright picture. STEENBECK 2 STUDIO 26 Six plate flatbed for 16mm only, one picture and two sound heads. Bright picture. Available only during periods when there are no classes being held in this studio. CONTACT PRINTER STUDIO X For Black and White printing and making copies of your original footage - usually reversal (positive) to reversal printing. This machine requires training as well. You can buy printing film stock from the film department

17 16mm SPECIAL EFFECTS ANIMATION STAND STUDIO 30 JK motorized animation stand with l6mm Bolex camera, Switar 25mm lens and 360 degree rotating compound table. You must pass the Bolex test before receiving instruction on animation stand. SMALL OPTICAL PRINTER ROOM 2 (South Photo Mezzanine) JK optical printer with l6mm Reflex Bolex, one projector, digital sequencer. Room includes R8 and S8 projector heads. Some filters, editing bench and rewinds. You must pass the Bolex test before receiving instruction on small JK. SUPER JK OPTICAL PRINTER ROOM 2 (South Photo Mezzanine) JK optical printer with l6mm reflex Bolex with two projectors. Aerial image rotating head, digital sequencer. You should have experience with the small JK Optical Printer before attempting to use this one. Room includes R8 and S8 projector heads, some filters, editing bench and rewinds. You must pass Bolex test before receiving instruction on super JK. DIGITAL SUITES PERSONAL FIREWIRE HARDDRIVE IS REQUIRED AV SUITE #7 RECORDING STUDIO & CONTROL BOOTH AV #7 is located in the film checkout office and is only available from 9AM to 5PM. This studio is reserved for students who are putting together a final sound mix for their project, transferring sound to 16mm magnetic stock for flatbed editing, or recording voice and instruments in a quite room (This room is NOT Soundproof!) This room has a 16ch Mackie sound mixer, 16mm Mag recorder, tape cassette deck, CD deck, DAT deck, microphones, an imac with ProTools and Final Cut software, as well as audio and video monitors. Reservations are through film checkout. DIGITAL AV SUITES # 4-6 (Film Dept) and #1-3 (New genres) These suites have the same basic computer setup and software as AV Suite 7 and the computers in the DMS. They are equipped with ProTools and Final Cut Pro as well as all other software at SFAI, audio and video monitors, and an imac. Reservations, Tutorials, and Keys for ALL AV Suites #1 - #6 are with the DMS Computer Lab (phone # ). 17

18 CLASSROOM STUDIOS When not in use for class activities, these studios are available for student projects. Each has a lighting grid and an assortment of studio lights, though Studio 8 is better equipped at the moment. Before your shift, it is wise to check these rooms, particularly the lights, to be sure everything is working. You will be required to receive a demonstration in the lighting equipment and projection facilities in these Studios before you will be able to reserve them. STUDIO 26 Classroom a Panasonic PT-AE4000U HD Projector, Bluray/DVD/CD player, JVC S/VHS deck, Sony Hi-8 deck, Denon cassette deck, 16mm Elmo Channel Load Projector (runs at 24 fps only), 16mm Pagaent Projectors (run at 18fps and 24 fps), Elmo GS 1200 Super 8 projector (variable speed), amp, two speakers, screen, lighting grid, animation drawing station, chalkboard, table & chairs. Good screening studio. STUDIO 8 Classroom with 16mm ELMO Channel Load Projector (runs at 24fps), 16mm Pageant projector (24 & 18fps), cassette deck, CD player, amp, 2 speakers, screen, lighting grid, green screen, dimmer control panel, and Mole Richardson and Colortran lights with various stands, snoots, clamps, barndoors, extension cords, electrical adapters, and scaffold. Good shooting studio. STUDIO X This studio houses our Jameson 16mm Black & White processing machine, a sink for hand processing of S-8 & 16mm film, a Hurlitron 16mm Contact Printer (where students can make their own workprints, answer prints, or experiment with techniques), and an editing bench area for spooling down bulk film. The stairway leading to this studio is located across from the Photo Lab. SEE STUDIO X HANDBOOK FOR MORE DETAILS FILM EDITING SUITE (STUDIO 25) There is a monitor in the editing room during posted hours to help you if you don't know how to use Super 8 and 16mm projectors, splicers, viewers, rewinds, synchronizers, etc. Give your I.D. card to the monitor and you can check out any of the above for use in the editing room only. If there is a box available (see next page), you may stay all night; if not you must check in your equipment by 3:30 p.m. See the monitor if you need to checkout a Super-8 or 16mm projector. SEE BELOW FOR MORE DETAILS 18

19 Edit Room Monitor Hours 12pm-4pm (Monday Friday) All Equipment Reservations 12pm-4pm (Monday Friday) Film Edit Room and Reservations Desk EDIT ROOM SUPPLIES CHECKOUT The Edit room is open from 12-4 everyday. Use this time to checkout film editing supplies such as splicers, viewers, and film reels. Lockers are also available for equipment storage after hours. ALL EQUIPMENT is DUE BACK THE NEXT DAY BEFORE 12pm (noon). All new students must be trained on equipment. Ask the Edit Room Monitor or Studio Assistant for assistance. No editing equipment is allowed out of the Film Editing Suite. If you do not comply with this rule you are subject to suspension of privileges. FILM TO VIDEO TRANSFER Film to Video transfers are provided by the Editing Room Monitor in the Film Editing Suite. See the Monitor during the posted hours to make arrangements. In most cases, they will be able to do the transfers on a walk-in basis (12-4pm, M-F). NIGHT TIME POLICY 1. All supplies and equipment stay in the edit room. If you need to use it in a studio you must have permission from the staff. 2. All equipment and keys are due the next day at 11am. 3. Lockers within the edit room are available for storage. Students may leave equipment in these boxes for the monitor to check in the next day at noon. 4. Stay clean and organized. The edit room is a shared space. Please keep doors locked for the safety of students and equipment. Do not leave equipment unattended. Keep editing tables and projection rooms free of clutter. 19

20 Studio X Studio X is located across from the photo lab in the basement of the chestnut campus. The lab contains facilities for hand processing as well as machine processing black and white movie film. The studio also houses a contact printer as well as other various equipment and supplies. Studio X Handbook Please read the studio X handbook for further information on how to utilize this wonderful resource. FREE 16mm Black and White Machine Processing The Filmmaking Department can provide you with "lab quality" machine processing of 16mm B&W Reversal film in our processing lab. Students can drop off and pick up their clearly labeled rolls of 16mm B&W reversal film at the film edit room. Turnaround is usually the same week. After hours, there is a clearly marked drop off locker located to the left of the Edit Suite doorway. We can only run 16mm or Regular 8mm B&W Reversal film through our machine. The processing schedule will be determined and announced each semester. Hand Processing Lomo: Hand developing tanks for both Super 8 and 16mm are available for overnight checkout from the Film Equipment Checkout Office. These LOMO and SUPERIOR BULK tanks are extremely delicate and rare. Fines for damage will be strictly enforced. Misuse such as returning wet tanks or putting them together improperly will result in suspension of privileges and a required re-training. Chemistry: We currently provide chemistry for Black and White Reversal film at no charge. You need to supply your own 1 quart or 64 oz chemistry bottles (7 are required). Instructions and schedule for obtaining them will be posted on the wall in Studio X. Orientation: You will be required to attend a short Lab Safety and Procedures Orientation, before you will be allowed to work in Studio X. You will then receive an authorization form which you should bring to the Editing Suite Monitor before you request any processing equipment or keys. The schedule for the orientations will be announced in your classes and posted in the department. There is also a STUDIO X HANDBOOK which goes into great detail on Studio X procedures. Of course, you are also welcome to send your film to any outside commercial film lab. Complete information is available in the Film Checkout Room, or the latest edition of the Film Source Guide regarding various film labs and their services. 20

21 . SUMMER HOURS By Appointment Only Equipment Checkout Office 9am-5pm Monday Friday Call: Reservation Office Closed: contact Equipment Checkout Edit Room Hours Closed: by appointment only, contact Equipment Checkout IGNORE FALL and SPRING HOURS Summer hours are by appointment only. In most cases you may walk in to the EQUIPMENT CHECKOUT OFFICE for training, testing, reservation, and checkout. MAKE AN APPOINTMENT WITH STAFF ( who!s who page ) Due to smaller class sizes, the Equipment Checkout Office will facilitate all of your needs for film and video equipment. The staff is available to work with your schedule. SPECIAL SUMMER PROJECTS The Summer months are when SFAI takes on large projects, such as construction, reorganization, and equipment maintenance. This is also a good time for you to take on larger film projects such as large productions, narrative films, group projects, and extended checkout hours. Again, make an appointment with the Equipment Checkout Supervisor to discuss such ambitious projects. 21

22 Appendix A Work Flow Charts POST PRODUCTION SOUND ROUTES for 16mm FILM There are a variety of paths to choose throughout Production and Post Production for Double System sound and picture recording. The merger of new and old technologies will present you with a number of options and problems with syncing your picture and sound. This flow chart is only a guide, influenced by past students and current facilities. Each path has its problems that you must overcome. Let us know what works for you, as it may work for someone else. MATCHING FILM AND VIDEO FRAME RATES The most common problem with 16mm sound is the fact that video is slower than film. Video is.01% slower than film. So you will have to slow down or speed up your sound throughout this process. The easiest way is to change the speed of your audio track in software like Final Cut Pro. However you can alternatively change the sample rate during recording, or another option is to change the sample rate of the software during editing. For most films without a lot of dialogue, you will not need to worry about this. However you do need to know that it is a problem with many possible solutions. 22

23 Appendix B (equipment inventory) The following equipment is available for checkout: SUPER 8/ REGULAR 8 CAMERAS (3) Canon 1014XL-S Super-8 Sound mm 2-speed power zoom lens with macrofocus; filming speeds of 9, 18, 24 & 36 fps; manual/auto exposure control with exposure compensation; self timer; automatic lap dissolve of picture and sound; automatic fading of picture and sound; shutter opening control; capable of single system sync-sound filming with S-8 sound cartridge, or silent filming with S-8 silent cartridge. (1) Canon 814XL-S Super 8 Sound - same as 1014, except 7-56mm zoom lens, and no lap dissolve. (1) Canon C-8 Tele Converter 1.4X -for 814XL-S and 1014XL-S - extends telephoto range 1.4 times. (3) Canon C-8 Wide Attachment - for 814XL-S and 1014XL-S - extends wide angle to about 5mm. (1) Canon 514XL-S Super 8 Sound mm power zoom lens with macro-focus, filming speeds of 18 and 24fps, single frame, capable of single system sound filming or silent filming, comes with C-8 Wide Angle Attachment. (1) Nikon R mm power zoom lens with macro-focus; filming speeds of 18, 24, & 54 fps; single frame; lap dissolve; fader; double exposure (100 frames) and reverse filming (100 frames) capability. (1) Canon Auto-Zoom mm power zoom lens; filming speeds of 18 & 36 fps; auto/manual exposure control; no single frame filming. (1) Bolex H8 Regular 8mm - spring wound fps motor; non-reflex viewing; triple lens turret with 5.5mm & 36mm lens; will shoot up to 100' load of Regular 8mm film only. (1) Regular 8mm - non-reflex; spring wound motor; zoom lens; 1 filming speed only; no instruction or testing required. 16mm CAMERAS (1) Bolex Non-reflex - spring wound only, 8-64 fps; triple lens turret with 16, 25 & 75mm lenses, generally always available. Accepts double perf film only. (8) Bolex Rex 5 - reflex viewing; spring wound, 8-64 fps; triple lens turret with choice of Angenieux 17-68mm f 2.2 zoom lens or Bolex prime lenses; has 400' capacity, with magazine. (2) Arriflex 16SB - reflex viewing; electric variable speed motor; films in forward or reverse, 2-50 fps; either 100' loads or can be used with 400' magazine; with Zeiss mm f 3.3 zoom lens, can be used with close-up diopters; and Schneider-Kreuznach 50mm f2, 25mm f 1.4, 16mm f 2 prime lenses; cannot be used for sync sound filming. (1) Eclair NPR - reflex viewing; for sync sound filming only - crystal sync; electric crystal motor, 24 fps, variable shiutter angles, forward only; magazine with up to 400' capacity; with Angenieux mm; f 2.2 zoom lens, or any C-mount lens; supposedly can be hand-held. (1) Éclair ACL like the NPR but lighter and without the variable shutter angle. (1) Aaton LTR7- extremely light weight hand held 16mm sync sound camera, with on board batteries and swiveling self orienting viewfinder (1) Hycam super slow motion scientific camera. AC power only with limited lens and shooting abilities. 23

24 BOLEX ACCESSORIES (2) Bolex MST Motor - 24 fps only electric motor; can be used with any reflex Bolex. (1) Bolex ESM Motor - variable speed electric motor, 8-50 fps; can be used with any reflex Bolex. (1) Tobin TTL Motor - time lapse/time exposure electric motor; variable from one frame per second to one frame per hour; can be used with any reflex Bolex. (2) Bolex 400' magazine - can be used with Rex 5 or SBM and electric motor only (2) Bolex Rex-O-Fader - to do automatic fades with spring wound Bolex; either 28 or 40 frames. (2) Bolex Matte Box - to hold mattes for special effects. REFLEX BOLEX PRIME LENSES (1) 5.5mm "Aspheron" - extra wide angle attachment (1) 6mm - extra wide angle attachment (6) 10mm - wide angle f 1.6 (1) 16mm - wide angle f 1.8 (5) 25mm - normal angle f 1.4 (2) 26mm - normal angle, macro-focus f 1.1 (1) 50mm - telephoto, macro-focus, f 1.4 (1) 50mm - telephoto, non-macro, f1.4 (1) 75mm - telephoto, f 1.9 (1) 75mm - telephoto, macro-focus, f 1.9 (1) 75mm - Angenieux - telephoto, f 2.5 (2) 100mm - telephoto, macro-focus, f 2.8 (1) 100mm - Nikkor -telephoto, f 2.8 (1) 150mm - telephoto, macro-focus, f 3.3 (1) 150mm - telephoto, f4 REFLEX BOLEX ZOOM LENSES (2) Angenieux 17-68mm f 2.2, compact (2) Kern Bolex 17-85mm f 3.5 (one C mount, one Bayonet mount for SBM), compact (1) Kern Bolex POE mm, f 1.9, power zoom, auto/manual exposure control, large MISCELLANEOUS FILM ACCESORIES (1) Pentax K mm SLR camera with Pentax 50mm lens, Sigma mm zoom lens, and "Duplikin" attachment - used to photograph frames of 16mm film onto 35mm still film. (1) Dremel Moto-Tool - multi-use high speed drill for engraving on film (11) Sekonic L398 Studio Deluxe Light Meters - incident and reflected exposure meter. (2) Pentax Spotmeter 5 - reflected exposure meter for spot readings. (1) Mackenzie 16mm film looping device - allows continuous projection of 1200' of 16mm film. (2) Rear Screen Projection Box - for filming a projected image. 24

25 VIDEO CAMERAS (2) Canon XL1s - Digital Video Camera- three chip mini-dv format digital camera and recorder; interchangeable XL mm zoom lens, stereo sound with manual audio control, image stabilizer and many professional camera features (2) Canon GL-1 - Digital Video Camera- three chip mini-dv format digital camera and recorder; 100x digital power zoom, stereo sound, image stabilizer, and many more misc. digital camera effects. (2) Panasonic DVX 100A - Digital Video Camera - three chip mini- DV format digital camera and recorder; 100X digital power zoom, stereo sound, 2 XLR inputs, electronic image stabilizer, and an array of digital camera effects including: 24P, 24P (advanced), 30P, color and gamma correction, and variable shutter. (1) Sony CCD-TRV-87 -Video Camera Recorder - Hi-8 XR camera and recorder; autofocus, 20x optical/ 360x digital power zoom with macro-focus, steady shot, night vision, built in light, digital and picture effects, stereo sound, manual overrides for all controls HIGH DEFINITION VIDEO CAMERAS (10) Vado HD Pocket Video Cam- Small cell phone sized cameras that shoot 720p on an internal drive and are fully automatic. Good for documenting work. (2) Canon HV40 Small HD Video Camera- Shoots native 24 frames per second along with standard 60i in SD or HD 1080 on HDV Tape. (2) SONY EX-1R - Solid State Recording professional video camera. Records 1920x1080p XDCAM Codec at multiple frame rates. Includes (2) 16GB cards, card reader, wideangle lens adaptor, field monitor, etc. Requires extensive training and proficiency of all other video cameras. (Must be certified on XL-1, DVX & HV40 to reserve) TRIPODS (3) Sachtler Hollywood for minidv and Super 8- lightweight, fluid " head. (1) Sachtler Hollywood for BOLEX - lightweight, fluid 3/8. (1) Sachtler Hollywood for ARRI or minidv- lightweight, fluid head " or 3/8. (2) Bogen aluminum - very lightweight, use with Super 8 or video only. (2) Manfrotto 3066 smooth, heavy, durable, metal tripod for 16mm. (1) Manfrotto 501 HDV lightweight, fluid " head - good for Canon HV40 or DVX-100A (1) Manfrotto 504 HD large carbon fiber tripod with fluid head, 75mm ball, " or 3/8 - good for heavier cameras up to 16 lbs. (2) Bolex aluminum - lightweight, use with Bolex only. (1) O'Connor Model 50 - heavy weight, wooden legs, fluid head can be used with any camera; heaviest & most stable of all tripods - best choice for NPR. (2) Miller Hi-Hat - tripod mount without legs; comes without tripod head, one can only fit Miller F tripod head, the other can only fit miller pro head; used to get camera very low. Must be booked with tripod. (1) Burns & Sawyer Dolly - (spreader with wheels)- sturdy dolly for use with any wooden legs tripod. (1) Miller Baby legs - short, aluminum legs for Miller Pro tripod head; extends 15" to 24"; legs only, must book with Miller Pro tripod. 25

26 LIGHTS (1) Lowel Rifa ex Light Kit (2) 200 watt quartz fixtures with collapsible 16x16 soft box and stands. Very soft & pleasing quality of light. (1) Lowel Pro Light Kit (2) small 250 watt quartz fixtures with barn doors and stands - useful for lighting models and miniature sets. (1) Lowel Omni Kit - (2) 600 watt open face & (1) 750 watt Tota (see below) fixtures with barn doors and stands. (1) Lowel D-kit Light Kit: (4) 750 watt or 1000 watt focusing fixtures with various barn doors & scrims, & stands. Also comes with 3 "Practical" screw-in fixtures. (1) Lowel Tota Light Kit: (2) 750 watt non-focusing fixtures with stands; no barn doors or accessories; very lightweight and compact. (1) KINO FLO KIT soft fluorescent bulbs in both daylight and tungsten balanced sets. Ideal for close up video and fill. Kit includes one 4 bulb X 4 foot light box and one 2 bulb x 2 foot light box, each with ballast and cabling. Requires C-Stands and Sand Bags. (2) ARRI HMI 1200 Watt Large Daylight balanced lights for use on large productions or studio shoots. Each comes with a separate flicker free ballast. Requires large junior stands and sandbags. (1) Arri Fresnel Kit 1000 Watt Includes 3 lights with tripods and barn doors. SOUND RECORDERS (1) Edirol R44 Digital 4 Track Recorder portable 4 track recorder supports 24- bit/192khz recording to SD/SDHC flash media, AA battery operation, XLR/TRS combo inputs and built-in effects. For wild or sync sound. (1) Fostex FR-2LE Digital Field Recorder - 2-channel field recorder in stereo or mono on compact flash cards, 24 Bit/96 khz and MP3 recording formats supported, AA battery operation, XLR/TRS combo inputs. For wild or sync sound. (1) Fostex PD-4 Digital Audio Tape Recorder (DAT)- professional, portable, digital stereo tape recorder, capable of recording and playing back any form of time code. Uses XLR connectors and offers a three channel mic /line mixer. For wild or sync sound. (1) Tascam DA-P1 Digital Audio Tape Recorder (DAT)- professional, portable, digital stereo tape recorder. For wild or sync sound. (1) Microtrak 24/96 Digital Recorder - portable, stereo, digital audio recorder. Will record either WAV or MP3 format onto compact flash memory card. USB out to computer. Comes with 1 GB memory card. For wild or sync sound. (4) ZOOM H4 24/96 Digital Recorder - portable, stereo, digital audio recorder. Will record either WAV or MP3 format onto compact flash memory card. USB out to computer. Comes with 2 GB memory card. " inputs. XLR inputs, and on board stereo mic for wild or sync sound. (1) Sony TC-D5M Cassette Recorder - portable, battery-operated stereo cassette recorder, very high quality; for wild sound. (1) Sony TC-D5 Pro II Cassette Recorder - same as TC-D5M except mike inputs are professional XLR connectors instead of l/4" phone; no line inputs (can only record using microphones); no metal tape. (1) Nagra 4.2-1/4" full track, mono, for wild or sync sound; capable of using three mikes without a mixer, battery or AC powered; very high quality. 26

27 MICROPHONES & OTHER SOUND EQUIPMENT (4) AKG CK-1 - Phantom Power condenser, cardioid shotgun. (2) AKG CK-3 - Phantom Power condenser, super-cardioid shotgun. (3) AKG CK-8 - Phantom Power condenser, hyper-cardioid mini-shotgun. (1) AKG CK-9 - Phantom Power condenser, hyper-cardioid shotgun. (1) Electrovoice 635A - dynamic, omni-directional. (1) Electrovoice RE-50 - dynamic, omni-directional. (1) Electrovoice RE-55 - dynamic, omni-directional (similar to RE-50). (2) Electrovoice RE-11 - dynamic, cardioid (1) Electrovoice N/DRE-45 - dynamic, semi-cardioid shotgun. (2) Rode NT1-A - large diaphragm condenser stereo. (1) Rode Videomic- super-cardioid condenser with shock mount and 3.5mm mini-jack output. Powered with 9v battery and mounts via hotshoe on most large video cameras. (5) Tram Model STR - electret-condenser, lavaliere, omni-directional. (2) Sennheiser 416 T-Power condenser, semi-cardioid shotgun, use with power supply. (2) Sennheiser MKH 416 Phantom Power condenser, semi-cardioid shotgun, use with 48v p-power. (1) Sennheiser 815 T-Power condenser, hyper-cardioid shotgun, use with power supply. (1) Sennheiser MKE 2002 binaural unique stereo recording; condenser, omnidirectional. (1) Shure SM-54 - dynamic, cardioid, "performance" type - can withstand high soundpressure levels. (2) Shure SM-57 - dynamic, omni-directional good for live/recording vocals, drums and amps. (3) Shure SM-11 - condenser, lavaliere, omni-directional, XLR (1) Realistic PZM - pressure zone microphone, electret-condenser, hemispherical pick-up. (1) Sennheiser ew100 G2 Wireless Microphone kit - lavaliere mic with wireless transmitter and receiver. (1) Gitzo G-557 Aluminum Boompole - lightweight boom, extends 2! 6 to 8! 7 feet, with shock absorbing mike holder for Sennheiser 415. (1) K-Tek Avalon KE-69 Boom Pole lightweight boom, extends 2' 4" to 5' 9". (5) Rycote Microphone Windshield - zeppelin-type shield for small, medium and large condenser shotguns, with sock for extra shielding. Come with shock-mount, use either hand-held or mounted on Boom. (1) Rode Blimp - zeppelin-type shield for medium condenser shotgun mics. (1) E-V Microphone Shock Mount on fish pole mike boom - for 415 & 815 shockabsorbing mike mount on an eight foot boom. (1) Shure FP-32 3ch mic field mixer - Small, lightweight, battery powered; 3 mic/line XLR inputs with 48v Phantom power. (1) Nagra BM-11 mic mixer - for use with Nagra 4.2, Nagra III; will mix 3 mics and 1 line input; fixed output. (1) Denecke Dcode TS-1 Timecode Slate - reads and displays SMPTE/EBU Time code. jams to all standard frame rates, including 30 drop frame. 27

28 28