>Published : 15th June 2005
>My next film takes place on the German autobahn. 2 Porsches drive at 160mph and faster. The film is being shot on super 35 mm 1:2,40. Still I am considering intercutting some video from cameras that are attached on the outside of the cars. Are there any suggestions on how to achieve the best quality with the smallest cameras?
>Still I am considering intercutting some video from cameras that are >attached on the outside of the cars.
>What video format are you planning to use?
freelance shooter and editor
>Oliver Bokelberg asks :
>I am considering intercutting some video from cameras that are >attached on the outside of the cars.
>Of course vibration is your enemy so good mounting is essential.
>I have a couple of Toshiba lip sticks. They make them for Eymo which is the camera NASCAR uses in their racing cars.
>I did a little racing film for a Porsche club and one of my best shots was the low angle front POV...kind of like from the Movie Bullitt or Grand Prix.
>The camera was literally an inch off the ground and with a 4mm lens, made for some very exciting stuff.
>I have a number of suction cup mounting devices, but for the undercarriage I used the little mounting ring that comes with the camera. It's a sleeve actually that slips around the camera and has a foot with a hole in it. I was able to find a screw that was holding part of the undercarriage and simply unscrewed it and screwed my mount on.
>It was so low to the ground that pavement and crack patterns on the road coming out you at over 100mph really gave you the element of speed.
>The camera's CCU offers video and S-video out. I would probably opt for S-video into a DV or DVCam recorder. However probably the best thing would be to use a DigiBeta recorder which I believe also takes S-video in. That's as close to component as you are going to get.
>If film is your preferred option for the mounts, get some 16mm "gun-cameras". They are flat and take a magazine and were originally mounted on military guns and in fighter planes for point of views and target analysing.
>Their too big (about the size of two VHS cassettes) to mount under the car but you would be on film and the match would be easier.
>Extreme wide angle lens may be hard to achieve as well.
>However with that being said, the lipsticks have such wide and almost vibration free mounting capabilities, I think even with the film out, you should get some exciting stuff.
>Allen S. Facemire
>Allen Facemire writes :
>If film is your preferred option for the mounts, get some 16mm "gun >cameras
>How about the tiny new Super-16 Ikonoscop A-Cam? Longer (100-ft) loads, better registration, probably a greater choice of emulsions, and the size/weight is probably not much greater than that of a gun camera.
>Takes C-mount lenses.
Marin County, CA
>Dan Drasin writes :
>How about the tiny new Super-16 Ikonoscop A-Cam?
>Since it's been over 20 years since I've done any film camera mount work, I've never even heard of the Ikonoscop's.
>That sounds like a GREAT plan and if somebody has a Super-35mm budget for a project, then the Super 16 mount cameras is probably the ONLY way to go!
>Every bloody day I'm learning something every bloody day!
>But I'm learning!
>Allen S. Facemire
>235 Arri...8mm Nikon?
>Nick Hoffman NYDP
>Allen Facemire writes:
>Since it's been over 20 years since I've done any film camera mount >work, I've never even heard of the Ikonoscop's.
>It's been about that long since I've done any film camera rigging myself. I first heard about the Ikonoskop on CML!
Marin County, CA
>Check out this progressive scan lipstick camera--may transfer better than 3 chip interlaced versions...