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  2. Anyone know of a good deal on a SONY A7iii? Really want the full fran look and shallow DOF. thanks hth
  3. No later than the late 70s or very early 80s. I remember the disappearance of the sunburst from the logo. I still have it on a packet of Ilfobrom 10x8.
  4. Mmh, I’m on the hook. It was named Ilford Fine Grain Safety Positive film. https://www.dia-versum.de/Ilford-Filmstrip-Printer1950th.pdf Just saw this with an ebay offer:
  5. Today
  6. AmatEscalante

    Moviecam sl

    In the USA this is the place: https://www.amcamera.com
  7. If they really have a passion and commitment to this project and are not doing the entitled thing, they will find a way to make the financing happen or find a patron. That patron should not be you unless it pleases you to sponsor the project for the feelgood or "the exposure". When it comes to loyalty down the track from up and comers, you can pretty much assume it will be non-existent if they step on the fast train. Those who hire a new director are not likely to want any attachments which come with him or her.
  8. Hi Sam The dialogue is quite tightly written and its paced well. The idea around a girlfriend leaving a boyfriend behind to go to collage has potential. The current draft however lacks drama. Most films create a challenge for the protagonist (Brent) to overcome, this could be a difficult decision he has to make or a problem he has to solve, or a sacrifice he has to make. Its important the protagonist is the person that drives the story through the choices they make. Currently in the script, stuff just happens to Bret and he goes along with it, we have 5 mins of disappointment, but its not that dramatic. Films where nice stuff just happens to the heroes, tend to be a bit dull. Ideally you want to challenge and make life difficult for your characters. This is too easy. What if the parents do not want him to take a year out? What if he goes on the road trip reluctantly? What if he was more angry about April going to Brown? What if he failed his exams and the year out is cover for the fact he couldn't get into collage? It could be more dramatic. Find away for Brent to make more decisions. Often its a good idea to give your protagonist a personality flaw , that they have to overcome to resolve the films conflict. E.g he could be too possessive of April and realises he has to let her go at the end. Short films should be pacy and too the point - you don't really need the scene where he's given the car. It doesn't advance the story, unless they give him his sisters old pink VW and Bret acts like a brat (conflict), then it can break down later (more conflict). Think about how many locations you use (you have to shoot these places). What are the most cinematic ways of shooting these scenes, e.g is the phone call needed I would recommend you read "On Writing" by Stephen King, he really talks about the need to put your characters through the ringer and this podcast episode on writing is very good: https://johnaugust.com/2019/how-to-write-a-movie It talks about story from the POV of addressing your characters wants. Screenwriting is hard well done for putting yourself out there and I hope this feedback helps. I do think your central theme/idea - has potential but it just needs to be developed further. Have fun with it, see if you can throw in some curve balls, make it surprising.
  9. Many thanks for your reply Simon, but I can confirm Ilford did indeed manufacture a huge amount of 16mm and 35mm B&W print stock. A friend of mine worked for Ilford's back then and he's also very interested to know how the subtitles were 'coloured in'. ( I'll check to find out when the stocks were made ). The letters do look laser cut to me, and they seem to have the random 'round points' as you mention. The text is incredibly sharp ( and rock steady compared to the images behind them ). They're also noticably 'cut' into the emulsion side, so no, I don't think they're produced photographically. John S
  10. LASER does not etch but burn. Subtitles are in fact dotted out. In a good, sharp projection you can see a series of round points that form the letters. Depending on the adjustment of a given LASER apparatus the letter ground goes a little deeper or less. Since the yellow-dye layers are closest to the base LASER subtitles not completely through to the base, ideally into it, bear a yellow tint. Be careful with Ilford, they never made a black and white motion-picture print stock and if so, I should very much like to know when. Ilford Fine Grain Safety Positive was presumably made by a third party. Rolls no longer than 400 ft were on sale, unperforated as well. The print you have may be a color film. If it were to be Ilford black and white, the printed lettering ought to read black on clear. If you read clear on black, it’s copied from neg.
  11. I have charged for my kit at a discount price on shorts, if I'm working on it for free. If they can't find funding, possibly from their own pockets, why should you make a large investment in their project. Electricians don't work for free, so they need to be paid for. There has to be some element of doing something that you don't usually do for it to be worthwhile. Future promises mean nothing, so don't expect anything in that regard.
  12. I just bought a Nizo s560 and have the same issue with the aperture blades / iris. When you place the switch to the BLACK side to test the motor battery that works fine. When you push in the black button at the exposure control in this mode, the iris blades also work and appear to react to different levels of light. I confirmed this by opening the side panel (very easy) and you can watch the blades in action. So they're not stuck! But the Nizo manual I found online says to test the light meter you put it on the RED mode which runs the camera and then press the exposure button (little black button on exposure dial). When I do this I get zero activity. Then I inserted a cartridge with the side panel open and shined a light through the lens so I could clearly see the light going through the shutter and aperture blades. The cartridge insertion activates levers inside the camera so sometimes things don't "come alive" until those levers are activated. Even after doing so, the aperture blades had zero movement when running film. They were stuck wide open. This caused all my film to get really overexposed. My diagnosis at this point is that something is wrong with the electrical connectivity from the two small batteries for the light meter through to the blades. Why can't they just run the light meter off the motor batteries, would have been so much easier!
  13. Never give away expensive equipment for free even on no profit projects. You can donate you time and work if you really want but them taking advantage of you financially is a completely different thing. Personally I sometimes do no profit projects where I may not charge much for my own equipment IF they accept to rent some expensive additional gear which I really want to test on a project but dont want to rent it by myself just for camera tests. Effectively making yourself a no charge rental house is never a good idea and will make it look like you are hired just for your gear not for your talent
  14. dio zafi

    Moviecam sl

    Would like to get my moviecam sl serviced?
  15. as I stated earlier deferred payment contracts are the biggest load of crap in this industry in 40 years I have never heard of any crew getting a payment. producers come up with all sorts of excuses to not pay. the more jobs you do for no pay the harder it is to get paid gigs. you do not want to be the guy everyone goes to because you will work for nothing. (but why do you want to charge me ....you worked for Steve for free....) just my 2 cents
  16. They are nice lenses - looks glossy, good colour pallet and pacey edit. Was the 2.39:1 crop decided in post or during the shoot? Some of the full hight dancer shots are cropped at the ankle and it looks a bit tight, might look better in open matt 16:9 At times the operating is a bit uneven - on wider dance shots (particularly) I think camera movement (is it hand held or loose tripod) its a bit distracting.
  17. I agree the with the kit side of things, they should consider that an "in-kind" investment - so both a exec producer credit, a contract that states a deferred payment (which you won't get) and clear agreements about showreel should be the bare minimum. To be honest I'm not a fan of producers that also want free kit, especially when they aren't paying for labour. Its a bit cheap ass, what other corners might they cut? As a producer in the past I have done microbudget project with unpaid crew, I didn't enjoy it, made me feel cheap, but I alway paid for kit hire and I once was able to make a deferred payment to the crew when a project won some prize money.
  18. Don't rely on future promises, there's no way they can guarantee future work and shorts are unlikely to make a profit. But if you think it could be profitable you could ask for a contract with a deferred payment, without paperwork its not likely you'll get anything. A deferred payment is pretty common - e.g you have a contract that states you will get X amount if the film turns a profit. However I can count on 1 finger the number of films that I know about that actually was able to make the deferred payments. Particularly for shorts. Only do the film if it benefits you for other reasons - e.g levelling up on the showreel/experience. Or do it because you want too, filmmaking is fun, if you enjoy making films then its not a bad thing to make a film for the pure joy of making it outside of financial reward. These days I do project for free either because it allows me to explore something creatively that haven't been able to do in paid work, or i like spending time creatively with a specific bunch of people. In terms of future work or being promised they will hire you when they get funding for the TV/feature version don't expect too much. In the first instance its very unlikely project X will become anything bigger - its a long shot. Also, even if the filmmakers are working in good faith and they get funding for a bigger project and want to keep working with you. They may not have the clout to take their crew with them. The studio make (for instance) want them to use a DOP thats known to them. If your a filmmaker presented with an opportunity to make the film, but only if you work with the crew the studio demand. It would be very tough risking a deal breaker to keep your old DOP. This has happened with quite big directors e.g Danny Boyle and Kevin Smith not being allowed to bring on their own DOP's from the indie days when they make a studio sale. So even if they promise they will keep you, they might not be able too.
  19. Don't really sound like the most appreciative bunch.. to say the least...hopefully they at least insure your gear.. I,d check that..so at most you will get something for your show reel .. which they will most likely not give you and or sue you if you use it.. Working for free is one thing, to get some experience .. but your providing a lot of gear for free.. thats paying to work..
  20. Hi somebody can explain what does FPN mean ? Here in Paris we have the LaserGraphic Scanstation since two years, and we have great results, some issues with the stability of the film that is less stable than the Scanity for example after our tests, especially in 16mm sometimes clients are complaining about that and purple noise in the highlights. We do not have the HDR unit, probably thinking about getting that soon.
  21. well for a start they should be considering you an investor as you are supplying thousands of dollars of gear and your time for their film. I would at least be wanting a free tea shirt....(sarcasm) after 20+ years as a shooter and gaffer I have never received any deferred payment or preferred booking for any shoot I have done. (in fact the opposite is usually the case). I usually tell them I will do the first shoot for pay and when it goes to feature or series I will shoot or light it for free ( Needless to say I never hear back). you have to remember it is called. show business not show charity. there is no such thing as a cool project if you are supplying gear it is work and you should be treated with the respect that deserves. cheers .
  22. Short films rarely make a profit, so don't regard them as commercial projects. Studios won't buy a short to turn into a feature film, they may option the rights to the script, so that they can develop it into a feature film, The short film itself doesn't enter into the equation, it's the writer who will usually be involved in that agreement. However, there will a lot of development required to get to the production stages. Alternately, the writer or writer/director will write the feature script themselves and then get production funding, Investing in the short film doesn't automatically mean you hold any rights to the feature film.
  23. Not quite. Ive only photographed musicians in small venues so far. Though I'm happy with how they've turned out. Among those artists was an Australian singer / songwriter Monique Brumby who has enjoyed some commercial success (shot on Fuji 1600asa colour negative film.) At the moment, I'm putting together a portfolio. In the meantime, I'll keep photographing small artists and buskers. Yep, no connections here. I'll contact some music publications and offer my services to them. I have contacted some in the past but didn't have any luck then. There's a fair chance that images would be ruined by flare if I used my Samyang 12mm. I once shot an interior with it with a window in view and the whole image was plagued with multiple flares all across the frame. It was unusable.
  24. I'm involved with a low budget short film and will be providing high $X,000's of camera / lighting gear for free, plus no day rate and large amount of prep; test shoots, scouts, storyboarding in CG etc. I'm happy to do this for a cool project that has potential upside down the road but when I brought up the fact that as I'm investing significant resources and time in this, is it unreasonable to expect a commensurate return if the short film serves it's purpose and is sold to a studio or network to either turn into a full length feature or a limited run series, I got blank stares and awkward silences. I mean without physically filming a script on equipment, it's just a great idea on paper. I'm super passionate about creating cool stuff and I'm happy to be involved with interesting projects that push my boundaries creatively but working for free with no upside down the road is pretty embarrassing to admit to oneself, let alone anyone else. They are seeking funding and I was asked if I know any people who would be interesting in investing. So I said 'sure, what the upside that a potential investor can look forward to in the event of success down the road?'. To which they replied that investors would receive an EP credit and nothing else, apparently they look look for people that have a 'spare cash' lying around who want an EP credit for the fun of it. Needless to say there was no-one I could approach with this kind of one sided 'opportunity'. Is this the norm or is there a precedent or standard practice in the low budget short film arena that I can use to leverage a fair deal?
  25. This is the first music video I've shot with a crew (gaffer, lighting assistant, camera assistant). All feedback welcome :) https://vimeo.com/347213684
  26. Looking to purchase 3x Varicam LT packages Please email me bvw@vidgear.com
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