Samuel Berger

Mike told me that the Angenieux 12-120 covers S16 only from 35mm onwards. I wonder if this is also true of the 9-57.

Let me see if I am keeping track correctly: You borrowed a Nikon-to-Cameflex adapter and are using a Nikon mount Angenieux 9-57mm?

That is statistically possible since during the 1980's India produced about 5000 features per year.

Ha! I take it that it takes more than shining a flashlight through the lens. ;-) There are some service places in China that rehouse the whole thing, but that's too much money.

Thanks as always Dom. I guess I'll send it to Bernie. I just can't afford to waste any more money at this point, in for a penny, in for pound. Might as well have it checked out.

http://www.cinematography.com/index.php?showtopic=75679&do=findComment&comment=486674

I don't know, I can't argue right now, all my mental space is taken up by the fact that I just bought a massively expensive zoom that has scratches on it, that may or may not affect image quality.

Well I've finally received it. There were a few scratches the original pics didn't make very clear and I don't know if they will affect image quality. I wish I had a PL-to-MFT adapter to test the zoom with the BMPCC. What's odd about the scratches is that they are on the second lens element, not the front. I wonder how that might have happened. Front element is fine, the "haze" he mentioned is negligible. So you say the scratches won't be a big issue unless I'm at 25mm with the f-stop up to 22?

Maybe you could get Mr. Storaro to explain how shooting 3-perf saves on film when shooting on digital.

What about Scarecrow's Brain?

Again. "Hollywood accounting". They make money by losing money. Those huge budgets are a crazy way of keeping the big studios in business. Let's say Huge Studios wants to make a movie called "Megabudget Flop". They create a company called "Megabudget Flop Productions (MFP)" and give them millions to produce the film. MFP buys services and rents equipment from Huge Studios, which is set to distribute the film. Huge Studios charges very high for those products and services. $1000 for a roll of gaffer tape, etc. The film opens and flops. MFP declares bankruptcy and disappears. But Huge Studios is still there and making their share of the earnings. I think they explain better here: https://entertainment.howstuffworks.com/hollywood-accounting1.htm

It looks awful, we didn't have digital in 1982. They're going for the '82 look but then they shoot in 2:1 which is nonsense and in digital which is sacrilege.

Sure! Everything is digital in the end anyway. With 2-perf these days you need a DI. I don't imagine there will be a film print unless the (theoretical) distributor orders one.

It's a long shot. But if I can get it for as much as Tyler got his, why not? ;-) I hear the magazine is a JOY to load....but that's called a trade-off.

Thanks, Macks! Sounds great! We'll be recording ambient sound with a Nagra 4.2 when the blender, er, camera isn't running and use that in the mix. I imagine we'll need foley as well but one step at a time.

I wouldn't even know where to start budgeting for this, Macks. Still in early pre-production. We'll be recording scratch tracks that can't be used due to the mixmaster blender camera noise.

I've been out of the hobby for ten years (was never in the business, just touring). That's interesting. I read one of those books everyone had back in the day about independent film, and I don't remember the name of the book or the name of the director being interviewed, but I'll never forget the anecdote he told. He said he approached a potential distributor during a film market and the distributor asked "Was it shot on film?" The director said "yes" and the distributor said "then we can talk".

Thanks for the replies. The adapter we got for the Angenieux 25-250 is Fotodiox and it's on the way here. I sure hope it works out because it would cost a lot more to have the lens converted.

Thanks Heikki,and I'm aware of what a redshirt is. Your agonizer, please. ;-) By the way, their rate card is expensive for the HMI stuff, but cheap for tungsten. It might be smart to ultimately own the cheaper lights and rent the HMIs. But they have the 5K tungsten fresnels that aapo mentioned, for 80 bucks, that's not bad. The HMI Par 1.8k that he also mentioned is listed at $175. One of the versions is "flicker free". Hm. Not sure what that's about.

Howdy, I'm wondering if anyone here has experience using Arri Standard/Bayonet to PL mount adapters on the Arri 2C. About half inch into the convered PL lens mount there is the rotating shutter. I was thinking of getting inexpensive Arri mount lenses and just using adapters for the PL mount. But it seems to me from photos that the adapters might bonk into the center of the blades. Is this concern valid? Thanks. I'm surprised this isn't something that's been discussed often.

Thanks Phil, I will look. But that one there I wouldn't get because here in America we use 110/120V and that one seems to need twice the current. I'm very green when it comes to lighting, I've only ever lit interviews,haha. So don't those need a stand?

My interest in this topic is just one thing: H Has the massive floodwave of digital wunderkind-wannabes created an automatically superior position for independent features originated on film, when it comes to finding a distributor?

What the current cost for ADR in a studio? Like, we shoot MOS and then need to loop somewhere. What is it that we need to book, exactly, other than studio time and an engineer? How do we prepare the session? Thanks, all.

I was looking at Ultra 16mm productions and ran into this little comedy: I realise it's meant to spoof low-budget JD (Juvenile Delinquent) flicks of the 50's but that lighting throughout the whole thing.... Like, look at that guy at 1:18 in the red jacket. He has three shadows. This would have looked a lot better in black and white. When they introduce the Brad character, it's like they put a clamp light right into his face. I don't want to make the same mistakes. So why is this like this? Is it just a lack of diffusion? By the way, I mean no criticism of the writing or acting, I think it's great that they got together and made a film, specially in Ultra 16, in fact it's one I'd love to watch because these are right up my alley, but I think the lighting is lacking and I would like to know what is up.

I'm going back to the original suggestion aapo posted: This is all very expensive stuff unless I do go the Chinese knock-off route, at least with the fresnels. I'm going to look into this and do a cost estimate. But it does sound like it would work...at least I hope so. As for the hazer, here in America it seems to be very difficult to get, because fog machines get labeled as "hazers" very often and they're not the same. I've seen people use mineral oil and bug zappers, and that did WONDERS for their equipment...ugh.