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This isn't really a big deal, to be honest, and certainly isn't a sign that the people who scanned it are incompetent as is being implied here. We see this a lot - mostly with double perf film like Rob says. You spot check the film to ensure you have the right wind, but sometimes the heads and tails are flipped from the rest of the film, because someone added new titles or leader and did it backwards, or cut a shot out and then spliced it back in with the wrong wind. You can't look at every inch of the film before you scan it, and if someone flipped something, there's nothing you can really do about it if they used cement splices. It's trivially easy to digitally flip a shot in any edit system - you literally click a button and it's done. This is something you just fix in post. Sometimes it's best not to guess either. There are times it's intentional (we do a lot of film for artists and have seen some, um, nonstandard thing). I can't tell you how many films we see where they ran out of black slug and used whatever random old print was kicking around as filler. The filmmaker knew it was temporary but that was 40 years ago and it never got replaced. These things happen.

Hi, I recently recorded a session that included an iPhone 13. I used the Black Magic camera app to have exposure peaking and manual exposure. But one of the videos stopped in the middle, one of the others recorded only one second, and another recorded only 4 minutes. What app is better? Thanks, Larry

Hello, I'm a classical musician and audio engineer looking for 2 sub-$2k camera zoomable setups that are compact, remotely controllable (monitoring, exposure, and triggering video), and decent for low light. The budget is a bit flexible but I don't have space in my bag for several large cameras. No video limit. I looked at the Black Magic cameras (nice but worried setup would be more of a faff? although recording to SSD might actually be nice), Panasonic S5, etc. I see that Canon has Multi-Camera Control but it only works with their cinema cameras. Any recommendations? Thanks, Larry P.S. I posted last year about this and your replies (plus recent experience) really helped focus the requirements. Sorry I'm still looking!

For some reason I can't post the images. But they are all in this thread: https://www.photrio.com/forum/threads/bolex-18-5-projector-repair.206599/#post-2792399

Hello, thanks for your reply and sorry I didn't see it. I'm actually still looking for this. I'm looking for a simple tripod, photo head. I'm 1.9m tall. No weights since I'm traveling with lots of other gear. I hadn't heard of the Bluetooth remote. This would actually be amazing but not required. Thank you!

I have the following items for sale- x2- K2.55025.0 416 VIEWFINDER SET x1- K2.55012.0 Long eyepiece extension(LEE-1) x2- K2.55026.0 416-SHOULDER-MAGAZINE

Wonderful; that's what I figure, but it was worth double checking. Thanks

Peter Bradshaw, The Guardian's resident film critic, called it "megabloated" and "megaboring". I hope it is not.

Hey Phillip!! Thank you! I forgot about putting this up here. I agree with everything you say. I got carried away with the jitters and seizure like cuts 🤣😂. I think it was new to me and I wanted to paint the town in it 😅. It’s wonderful to hear your critique from someone who isn’t a friend being a friend about it. I made this for my USC application and had a deadline that I didn’t budget my time for much feedback and rework for it. 😆 I really appreciate you taking time out your day to offer this. I would do stuff a bit different after seeing it several times and we are always our own worst critics, so, reading your review made me chuckle because of how spot on it was. Great insight and thank you again for the feedback!! -Ryan

@Adrian Sierkowski @Tyler Purcell Thank you both for the words of wisdom. I'm in my late 30s and am returning to school a bit later in the game in the hopes of using it as a platform for networking, however, coming from Oregon to LA, I'm in limbo, continuing my education at OSU online until I can get into a program here in LA (fingers crossed). I appreciate the responses and am grateful for the perspectives and tips to help me get started here! -Ryan

White paper artists tape or no tape and bag it and wrap the bag around the short end roll before you put it in the can. Kind of depends on if you are planning to use the short end or if you are going to sell or ship it. I would just leave it un taped and put it in the bag then can and then in the fridge.

There was a Mitchell GC 2-Perf factory conversion kit on eBay a while back.

This happens especially with older 16mm films, especially 2R 16mm films, which were spliced together by a enthusiast filmmaker at the time they were shot. Sometimes it is better to leave the film assembled as it is and scan it than to try to take apart cement splices from the 1940's for example. Furthermore not every family archive wants to pay for a extensive restoration, sometimes there will be backwards segments in assembled films and that is how they have been for decades. So as the lab or post house you can go through the films and spend allot of bench time to undo hot splices (if possible) and reverse segments and make a scan reel that is all correct. Sometimes you end up scanning the reel as it is with issues and then fix the backwards or upside down segments in Resolve or Phoenix after the scan. Or sometimes the job requirement is to just scan as it is and deliver it to the client and they can edit it.

I still want to see it, though. It's amazing that it took this long to finally make.

Somewhere out there there's a two perf Mitchell floating around. It was used to shoot a Bigfoot movie in 2010. Surely it's not the only one. This probably doesn't help the OP, though.

Hi Ryan. Firstly, kudos for putting it out there for people to watch and comment. So, I'm writing as a person who shoots films on the side of my regular animation work, so take anything I say with a grain o' salt. Since this piece would seem to qualify as somewhat experimental, it sort of falls into a category to which it's more difficult to critique since it's so much more subjective. When things are a more straightforward narrative, it's easier to offer ideas on cinematography as a storytelling medium, but in work like this it'll be more "gut reaction", I think. I will say I like the heavier backlighting. It's a stylistic approach who's aesthetics I happen to enjoy. I offers a great high contrast image that's strong. The color in the bathtub scenes is a nice change from the heavy blacks. I would have enjoyed even more of that as a respite from the contrastier images to help balance the work. On to the "roasting" part, haha. My biggest issue is more in the editing than in any particular shot or lighting scheme. The strobing cut's are really harsh on this writer's eyes and I think a little goes a long way. I'm watching on a smaller laptop and it quickly wore out its welcome. If I had been a theater I think I would have actually looked a way fairly soon. The same would be true of the faux jitters brought in in post. I'm not saying there's not method to the choice made, however there's a point past which an effect has gone from enhancing a piece to undermining the impact. I really liked the effect of the actress' head in silhouette doubled to create an egg-like shape. Very nice. I enjoyed many shots and the actress had a great look for the subject.

I've used my Optex 5.5 on my Bolex Super 16mm SBM using a PL mount adaper. It worked just fine. The 4mm should also be fine since it's also designed for Super 16.

Hi everyone, I know this is everyone's bread and butter but I've never done a couch scene and certainly not in such a contained space. I'm trying to do back cross keys but I wanted a suggestion for motivation. On the right, I put a floor lamp with a b7c set the color temperature to 2850, and placed a 300x on a c-stand hanging just out of the frame to act as a nice backlight as well as a key light for the other person. On the left, I put a table lamp with another b7c (yes it is sticking out but it's all temporary) and a 150d on a c-stand (I didn't have a gel when testing so I just kept it daylight and set the b7c to 5600k). Now, I'm pleased with the lighting on the right single. I feel like the cooler key looks good in contrast with the warm hair light motivated by the floor lamp. On the left single, the table lamp isn't motivating the light that much which makes me want to move the light more towards the back and the warm keylight motivated by the practical floor lamp doesn't look as good in my opinion. Maybe I should put a colder light on the book shelf on the right to act as a key for the actor on the left? I have a t2c coming from the camera side acting as a tv/fill light. What do you suggest doing to make both keys look more like the single of the actor to the right? Or even better, something doesn't convince me about the left single, what do you think it is? Thank you all in advance! https://imgur.com/a/SbNmlYt

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Plenty of Lomo glass in stock. Have 2 sets of complete square front lenses available too. 35, 50, 75 and 35, 50, 80.

Title is a typo...it should read: 'They weren't pusses back in the day when they made movies'

Terence, Hecyra, or, The Mother-in-Law PROLOGUE Hecyra is the name of this fable. Its first performance was a disaster, for it was interrupted by lunacy so that no one could watch it, or understand. What happened was, the audience turned their attention, in stupid fascination, to a tightrope-walker. This is offered now as a new play; the author is not offering it again to sell it again. You have come to know my previous works; I ask you that you come to know this one. [ Act I. Enter Philotus, a young whore; and Syra, an old woman ] Philotus. Gosh, Syra, you can find few lovers faithful to their women! Like this Pamphilius [ his house ] , who swore to Bacchus (how many times?), and oh so solemnly so no one could misunderstand him, he would never bring a wife as long as she was alive into his house. Oh yeah? He’s done it. Syra. And that’s why I’ve told you over and over never to pity any of ’em, but plunder ’em for everything you can get. Philotus. Ha! Is no man special? Syra. None. (1–8; 52–67)

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Next is an even wider adapter. This one is marked 0.3X and has intentional barrel distortion; "Semi-Fisheye" This one is a Raynox HD-3035PRO. It is a two element lens with actual magnification around 0.4X. Again it has a 37mm thread, so it fits my adapter.