ben nelson

try Duclos lenses (if you are in LA)

i am shooting a short piece in 16mm and to save money i was planning om just using some standard florescents from the store(i.e.-lowes). kinos have ballasts; is that to prevent (or maybe to regulate) flicker? is there a way to find out what the flicker rate is on a standard flo bulb? is this even an issue? if so, how do i compensate? thnks

a lot has been said and i agree with most of it, but i think that what might also help is if you took some photography classes, maybe a class in 2-d design so that you learn about composition. with photography, you learn various aspects of light and how it interacts with film. i went to art school, did some PA work, and then AC'd for a while to get to learn the equipment. i found that the most important thing is to learn how to light. who knows, by the time you start working you might be working in HD, but if u can light, it doesnt matter what the medium is. its a bit rambly, but i hope it helps.

I just saw Paul Cameron's work in Beat the Devil for BMW films (Dir. Tony Scott). i loved the colours. is there anyone who knows what stock he used(or how i can find out)? thnks

i was told that there is a place called RGB on highland in hollywood that will sell you kodak stock in still photo form. i just moved to LA, so i havent had the time to go there yet. hope this helps.

i'm still really new to using film, so before i spent the money on the stock, i thought i'd see if anyone knew something about this. i was reading the production notes on Buffalo '66, and vincent gallo said that he had to beg kodak to make the colour reversal stock for him? i like the look of the film, so i was thinking about using it, but i was curious about bleach bypass. is it possible to underexpose colour reversal and then push it a bit and then do a bleach bypass? is that even wise to do? the effect i'm going for is saturated colours, grain(but not noise-hence not being done digitally) and high contrast.