bragis chut

Thanks for responding, everyone, but I believe we have found our gaffer. Our DP brought someone on whom she has worked with previously, so I think we're set. If anything changes, I will definitely get in touch. All the best, --Bragi

Thanks for the offer, man, but I'm not sure international airfare is in our budget. Never know though... if we really have trouble finding a gaffer in LA, I may just check out expedia! --B

Sorry, neglected to mention we're shooting in Los Angeles. Also should mention that the winning short receives funding for a third project, so if all goes well, the production would roll right into another gig, which would be significantly higher budget. That said, I've seen and met the other fourteen filmmakers, and they're all damn talented, so the competition is steep. But we have a great crew so far, and are hoping to find an equally fantastic gaffer. Please keep us in mind, or if you know someone who might be into it, send them my way. Thanks! And if you're bored, check out the shorts at www.thedoorpost.com. --Bragi

Hi everyone: My friends and I did a short that just won a grant from the Doorpost Film Project (www.thedoorpost.com). They awarded fifteen grants, that go towards producing 15 short films, one of which is ours... So we're looking for a talented gaffer to join our team. Yes, there is some pay involved, but not a lot. The grant wasn't huge -- everyone is working for the same rate of 100$ per day -- if you're interested, and have some experience, please get in touch. Our DP is very talented and had a short in Cannes several years ago, and just finished shooting her first feature starring John Malkovitch. The rest of the crew is equally fantastic, and we have high hopes of turning in another strong short. Our shoot dates are July 12-16 and we're shooting in super 16mm. Thanks, --Bragi

Hi everyone: I'm prepping a short film project and we're trying some really fun stuff, like sudden speed changes in the middle of the shot. Has anyone done any tests on anything like this? What we're trying to do is a series of shots of someone working at a desk, stamping forms, and while the camera pushes slowly in, we show him in super-fast motion stamping forms, almost like a time-lapse effect. His arms are a blur. Then suddenly, when we're in tight, we go ultra slo-mo, or possibly even freeze frame. We're going to do some tests (without the camera move probably) to see what we're up against, but if anyone has any fun ideas or suggestions and pointers, please let me know. Would love to see if anyone has examples of similar stuff. Thanks! --Bragi

This question has been asked a lot in this forum, there's probably a list somewhere if you check under "films shot on super 16," but from memory, here go a few: HUSTLE & FLOW THE DEVILS REJECTS THE CONSTANT GARDNER (partial) CITY OF GOD (partial -- most) 28 WEEKS LATER Hope that helps. --g

Where should I post the details? I would have put it in the classified forum, but that seems to be mostly equipment. Anyway, I am prepping a short film to be shot on super16, in the Los Angeles area, in the next two months. Very low budget. I can forward the script to any interested parties. Thanks. --Gallantyne

Thanks for the tips, guys. I hope that does it. I will send Fed Ex (next day) with a massive sticker on that reads DO NOT X-RAY. --Bragi

Anybody have a safe way to transport film stock? I have some stock that needs to get from LA to NY. I'd take it on the plane with me, but the way security is now, I'm fairly sure they'll make me x-ray it, which wouldn't be good. Hoping for some suggestions. --Bragi

Hi: I'm sure this had been discussed somewhere but I couldn't find it. Anybody know approximately how long the new Vision 2 stocks (particularly the faster speed stocks like 7218) will last if they're stored properly? I know the faster the stock, the quicker it usually degrades, but beyond that... specifically... how long will 7218 last if it's stored in a cool, dry place? I've had some stuff myself that tested fine after a year and a half so I know it's good at least that long. Thanks, --Gallantyne

Hi Josh: I might be shooting something in super 16, but that wouldn't be until late August most likely. But if you're still looking at that time, shoot me an email. We can always use an extra set of hands! --Bragi

Someone found a link several months ago that listed the CAT#'s on Kodak filmstock and the approximate corresponding age. Does anyone remember this? Or who found it? There's some filmstock I'm considering purchasing (recans) and am trying to determine roughly how old it is. Thanks! --Bragi

If you're in LA, there are several places. I think Alan Gordon fixes cams, and there's a much smaller outfit called OPTICAL ELECTRO HOUSE right by sony studios, on Washington Blvd.

Ah! That's hugely helpful, thanks.

The first three numbers after the stock type have something to do with the age. Last time I sold some shortends to Dr. Rawstock, they asked me what those numbers were and when I told them the reaction was, "yeah, that's pretty recent stuff, we'll buy it." Alas, I have no point of comparison. --Bragi

Thanks for the tip. The site is useful to a point, but the example they use is a 35mm label. Do you happen to know how to tell from the label whether the film is single perf or double? It's 16mm. Thanks.

I know some of the numbers relate to the age of the film... and the first four numbers reveal the film stock, but beyond that I don't know what the numbers or codes on the label mean. Is there a way to tell from the CAT number how old film is? A friend of mine has some kodak film he wants to give me, and I was wondering how old it was from the numbers. Any help is much appreciated. Thanks, --Bragi

Thanks for the info. I checked the forums and found some more good tidbits. Seems a lot of people don't like the lenses new, as they sometimes need to be colimated and checked out, tightenede, etc... Strange. Would have thought a new lense was better than an old lense. Live and learn.

I've been talking with a camera repair house in LA that has an SRII package for rent with a set of new lumina lenses. I guess they're a russian lense... supposedly comparable to the zeiss superspeeds. I just wanted to know if anyone has used them and has any opinions on the subject. Thanks, --Bragi

Hi Adam: Beautiful looking video. Really nice work... I assume you shot 35mm? I only ask because I know a lot of music videos are shot on super 16 these days. Is this the new Eterna stock, by the way? Thanks, --Bragi

Hi everyone: I'm looking to buy a nice super 8 camera (possibly a Leicine or Beaulieu) and a 16mm camera (a bolex rex5). Anybody know some good shops to check out? Thanks. --Bragi

Thanks for the referral but I wasn't able to find member by that handle. Are you sure of the name? --Gallantyne

Hi: Anyone have any good suggestions of where to look for a nice Bolex Rex 5 package, later model, with lenses, etc... ? I remember a few years ago there were several places that sold Bolex's in LA, but I think most of them are out of business now. There was a place on Cahuenga that had tons of old cameras for sale, and another on Venice blvd. Any suggestions? Thanks, --Gallantyne

Hi all: I recently shot a short film on 35mm (1.85) and need to go back and do some re-takes and additional shooting. Because we went over budget, I am now having to consider shooting some suepr 16 and integrating it into the short a la CITY OF GOD, or THE CONSTANT GARDNER, both of which mixed both formats together, I believe. We didn't shoot super35, however, the way CONSTANT GARDNER did. Anything I should before I go down this road? Obviously, we will only be finishing to DVD, and I don't need to strike a release print, so I'm not worried on that account. Mostly, I'm just wondering how I merge the 1.85 ratio with the 1.66 ration of super 16. Thanks in advance for any advice... --Gallantyne

Thanks for the reccomendations. I will certainly look into Laurel Canyon stages... although I'm not sure about the theater idea. I get that it worked for you, but I think we'll need a cyc for what I have in mind so it may not work for me... But thanks all the same. --Gallantyne