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  1. Today
  2. So I wrote/directed/shot this abstract little film about Florida and I'm looking for some feedback. Rather than trying the festival circuit, I figured I'd just post it online and try to get as many people to see it as I can. Microbudget films are basically impossible to monetize so I figured I'd avoid that trap altogether. It's a bit of a strange film, a hybrid of animation/documentary/scripted scenes. I don't expect everyone to like it, but the responses have mostly been positive so far which is encouraging. If anyone wants to check it out, here's the link:
  3. New FF camera from Sony.. alot to love.. about $10,000 !! body only.. power a bit high 35W.. need a 3rd party V mount.. Venice color .. Slog3.. a very possible next camera for me..
  4. Pushed expired stock defintely surprised me in a good way in terms of grain. I like the fact that it looks grainier than most modern stuff due to expired film stock.
  5. The workflow I'll be following is first get a telecine from the neg with edgecodes and then get the neg cut without worrying about sfx shots or titles or sound as I am only doing the color timing of the 35 and s16 material photochemically. I will then get the timed lo-con print scanned at 4k on Scanity. All gets done at Fotokem.
  6. It looks absolutely gorgeous with a notably 70s character to it from the color timing. How difficult is photochemical color timing nowadays out of curiosity?
  7. https://www.eplastics.com/plexiglass/acrylic-sheets 8'x10' seems to be the largest size they sell. They list 4'x12' so maybe three sheets to make 12'x12'? Seems like that would be easier to ship, layout, etc.
  8. Miguel, Thank you. It was a test I shot for an upcoming project. I'm back to photochemical color timing and scanning prints or ip's as I prefer the film look.
  9. Sure. When you overexpose negative, it yields for higher printer lights to print down or to dial the exposure back to normal from an overexposed image. Overexposure helps tightening up the grain, makes colors pop more with richer blacks as opposed to an underexposed but printed up image which tends to have more muted colors with milkier blacks and heavier grain. The choice of course depends. Since the film stock I shot on was expired, it need to be overexposed by 1 stop as film loses its sensitivity over time and and as the base fog increases with age. Essentially the 500 stock becomes more like 250. I pushed it one stop which technically brought the effective ASA back to 500 from 250 but I rated it as 320 ASA so overexposed the neg by 2/3 of a stop.
  10. Saw it on opening night. It's got that same old, flat gray/yellow/purple digital look. Eh. And the script was written on a napkin. I will say that the nighttime sequence with the explosions in the forest is phenomenal. There's a shot of one of the mercenaries running and being swallowed by the flames that looks absolutely real.
  11. Good on you Miguel! I tried to watch it, but the Vimeo link doesn’t seem to work anymore.
  12. You can pick these cameras up for a song, I doubt anyone will service them them for cheaper, even if you can find someone willing to try. You could ask the usual 16mm camera service centres in the US - Visual Products, Du-All, Bernie O’Doherty etc. They are not hard to open, maybe give it a go yourself?
  13. I don’t think buying a standard 16 camera and converting it to S16 is cost effective these days, you’re better off waiting and buying an already converted camera. Spending over 4K on a wind-up Bolex is way too much for example. The Arri 16S/B is a great camera, if you get one in good condition it should keep running with minimal service needs.. they’re built like a tank. Kinetals shouldn’t be that expensive, nor should a Zeiss 10-100. If you don’t mind standard 16 that would be my recommendation. If you wait for an auction you can pick up these cameras cheaper, but a serviced camera with warranty is worth paying more for. The LTR is also great, if you ever needed to do sync sound or run 400 ft mags and it’s S16. Aaton mount lenses are harder to find, but you can find an adapter to use Arri S or B lenses. Not PL however unless you change the mount. It’s not at all cumbersome, quite the opposite. If you can afford it with a decent lens, this would be the best option out of those. That Canon 7-56 is a standard 16 zoom, which is an odd thing to have on a S16 camera, so check with the dealer. A canon 7-63 would be nice. Bolexes are wonderful student cameras, and should be cheaper than the more professional ones by Arri and Aaton. Again, if you wait, you should be able to get a good Bolex with lens for cheaper than 3K. C mounts are cheaper (though harder to use) and service costs are lower. I love wind-ups, you can take them anywhere without the need for batteries and chargers (factor that cost into any of the others too) but it does mean you’re limited to 25 second takes and might miss something because you need to wind it up again. Once you add motors and mags to a Bolex, it does become cumbersome.
  14. Yesterday
  15. Anybody here tried and/or played with the Mole Richardson Bi-color led fresnels? Especially the big ones like the 5k or 10k equivalent. Or even these same lights in single color... Any thoughts, pros, cons, everything you have would be greatly appreciated!
  16. It is absolutely beautiful Giray! Film is definitely a wonderful medium!
  17. If you looking for this gear in the San Francisco Bay Area, I would contact Videofax: www.videofax.com. Last time I was there a few weeks ago, they were selling a whole bunch of their old video gear, some of it analog. It would not surprise me if they have a few decks for sale.
  18. Here is one of the clips with commentary. Takes more work to get the names and dates so I let people figure it out if they are interested. If I had more time and energy would tag everything. I'm only one person, can only do so much. I have 140+ areas of collection in my archive. https://archive.org/search.php?query=Frankie %26 Johnny Old Country Record Shop D.D.Teoli Jr. A.C.
  19. Giray, Can you explain what "printed in the low 40's " means?
  20. we have different priorities.. however the passion is close https://www.discogs.com/user/fabiopirovanoFP/collection?page=2&sort_by=max&sort_order=asc&facets=genres%5D%3A%5BStage%20%26%20Screen
  21. Last I heard he had 15,000. But that was long ago. I guess it is a disease with collector. A friend has a movie about him. I watched some of it. He canvased many states going door to door in the boondocks trying to buy old records. I would hate to have to build a collection like that. I'd buy it off eBay if I had the $$. Although the places he went looked interesting for photographing people. (occupants of the house) I'm building a collection of early western, county, hillbilly, folk and yodel music. I met an old yodeler in his 80's. He gave me about 150 hours of music and commentary I'm going through to mine songs from. Some of it is very rare material and would make good background music for some of my films. I had never given music any thought for my films which are for the most part silent. But some of the music may fit the films pretty good. I'll put one on the I.A. and send it in. A very rare version of Frankie and Johnny.
  22. In the years,I tied ,or in the worst of case replaced, many of my vinyls with cds..what I have posted are also on cd.. that's a sort the eternal dilemma analog or digital 😉
  23. Thanks!! WTFK.... 25 000 vinyls.................https://en.wikipedia.org/wiki/Joe_Bussard
  24. Does anyone have a vendor who makes custom dance floors? I'm looking for a highly reflective 12x12' black acrylic plexi dance floor, as we're trying to accomplish a mirror-effect with talent. I have vendors that rent/sell 4x8', but I'm looking for a seamless 12x12'. Let me know if you have any thoughts on this. Thanks! - Chad
  25. There is something that you might consider using if you need 0 drops of rain in your lens, a sprayoff / rain deflector. http://www.schulz-camerasupport.com/sprayoff_overview.php Have a lovely day.
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