Nitay Artenstein

Hi, I am planning to shoot a project with Kodak Double-X 7222. I will develop the rolls at home using a Lomo tank (50'+50'). I have already done this once, using Rodinal as a developer. The results were beautiful (as always with Rodinal), but the grain was unacceptably high. For this current project, I am thinking of using a fine grain developer - probably Microdol or Microphen, but I am also considering the T Max developer. Has anyone had experience with developing this film at home? Can you offer a good "standard" developing time for any of these developers when using them with 7222? How about dilution? Also, if anyone has experience with T Max, please share it with me. Thanks, Nitay

Wikipedia provides all the information you'll need. http://en.wikipedia.org/wiki/Exposure_value EV is a very good guide, but you must remember that it's only a general guide. For instance, most guides say that an EV of 15 is normal for a clear, bright day. But in a hot clear day in Israel, with our strong sun, you would normally have to aim for more EV. Hope this helps.

Hi Ole, It is in fact after reading your article that I have posted this message. I would be very interested to see any footage you have shot with your Kinor.

Hi everyone, As a future owner of a Kinor 16 (2M), I am interested in seeing some footage shot with that camera, so I can know what image characteristics I can reasonably expect from it. Please, if you have any footage on the net, even if it's on YouTube, please post a link here. I think it would be very interesting for other 16mm users, too. Thanks!

Godard & Coutard is a pretty obvious choice. I also like what Melville & Decaë did together.

Hi, I would also like to see those stills. Maybe it would be possible to post something here for everyone? Thanks, Nitay

Hi, Thanks for the help. I also prefer more contrasty, 'punchy' negatives. But I understand that contrast is increased again in telecine, and so you need a low-contrast negative to get a good contrast at the end of the process (it's a different story if you print your negatives, but that's not the case with me at this stage). I would be really glad to see the results of the telecine - I am very curious about the look of home-processed cine film. Did you process different rolls from this project with both d76 and d19? That should be interesting. By the way, aren't you worried about consistency? As I see it this is the main problem with processing film using the Lomo tank. Thanks, Nitay

Hi Nick, Thanks for the help. I'm using the 2x15m tank, which is a bit bothersome when you're processing a 100' roll. I would have liked to try processing reversal as well, but I am having a hard time obtaining sulphuric acid, which as I understand is essential for the bleach. Is anybody else having such a difficulty? How good are the results you're getting with the Lomo tank? Any tips you can share before I start experimenting? Thanks, Nitay

My apologies, Nick. It was by mistake, and my original intentions was to post this question only here. Thanks, Nitay

Hi, I want to develop a roll of Kodak 7222 (Double X) using a Lomo tank. The developer is D76, preferrably at a dilution of 1+1. Can anyone offer any useful tips? Processing time, proper agitation and so forth. All help would be appreciated. I am aiming for a low contrast negative, so I can send it to telecine afterwards. I know D96 is better for processing cine film, but I can't get it at the moment. Thanks, Nitay

Hi everyone, Hope you can help me out. I want to develop a 16mm roll of Kodak 7222 (Double X), rated at 250ASA, using D76 - preferrably at a dilution of 1+1. I will be doing this using a Lomo tank. Please help me with any experience you might have from developing this with the Lomo tank. What are the recommended processing times? Should I go for continuous or intermittent agitation? I will be going for a lower contrast negative, for the purpose of telecine. Thanks in advance, Nitay

Hi, I have just watched the (relatively) new Yeah Yeah Yeahs music video and really liked the camera movmements. In the best parts, they didn't have the shakiness of a hand-held camera, but seemed much more spontaneous than regular dolly moves. I'm talking mainly about the medium shots moving around the band members. I'm relatively new to filmmaking and don't know much about camera movements. I would really appreciate it if someone here could watch the clip and give an idea about how these moves were made. Yeah Yeah Yeahs - Turn Into Thanks in advance, Nitay

I wish to differ with most people who replied here. There was not enough footage, that's true, but the editing managed to give a very good sense of rhythm to the whole piece. It made you feel you can understand the story without having it told to you in a linear, classic way. The editing also made perfect sense with the way the woman felt: Like when you lose someone you love, and flashbacks keep coming back to you as if in random. You could really feel her agony in that editing. It kind of reminded me of Dziga Vertov's 'Man with a Movie Camera', though I'm not sure why. Well done.

Hi, I think the most visual directors working today are from East Asia. The first name that springs to mind is Taiwanese director Tsai Ming-liang, who uses almost no dialogue, and when his characters do speak, they do so in song and music (a strange concept, I know, but it really works well). You should try watching 'The Wayward Cloud', about a frustrated porno actor. If you're more patient and are not afraid of "slow" movies, you should also try 'The Hole'. Hope this helps. Best regards, Nitay

Hi everyone, Is it a realistic option to project footage shot with the K-3? I understand that since it will not run film in a perfectly steady speed, there will be slight variations in exposure from frame to frame, and this will show up during projection. Am I mistaken? Please share your experience. Thanks, Nitay

Hi everyone, I plan on shooting a short movie with a Konvas 2M. I am completely new to the field of cinematography, and will rely mostly on my knowledge as a stills photographer to pull me through. One question I find to be particularly thorny is that of the film gates on the Konvas. The package I intend to buy comes with an anamorphic film gate. Here are my questions: 1. What is the aspect ratio of an anamorphic film gate? From what I understand it is equivalent to the 'academy frame'. If so, can I shoot using this film gate and a normal spherical lens, and afterwards project the movie on an aspect ratio of 1.37:1? 2. How difficult is it to find a different film gate afterwards for the Konvas, such a 1.85:1 or a 1.66:1? How complex is the operation of changing the film gate on the camera? 3. When using any of the film gates I mentioned, will it be necessary in post-production to crop a part of the image to make space for the soundtrack? I sincerely appreciate any help you can offer to a true amateur such as myself.