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Dan Horstman

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About Dan Horstman

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  • Occupation
    Industry Rep
  • Location
    Washington, DC
  • Specialties
    Part time filmmaker, DP, Sound guy, Editor
    Full time Customer Service Rep at Colorlab - Laboratory and Telecine Services

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  1. Hi Brendan, We at Colorlab can process your B/W Negative film and transfer it to video. We are down in Maryland just outside of Washington, DC. Check out our website www.colorlab.com for more info. Dan Horstman Colorlab
  2. You should take all the unshot film to the lab and have end tests done. This will let you know how much the film has broken down due to age. You will probably want to over expose the film by 1 stop (or more) when you go to shoot it...this will cut down on the grain and burn through the age fog.
  3. I've had one for 3 years and it is a great little camera. You can't shoot sync. And if you thread the loop too tight you'll get base scratches...but once you get used to loading it...it is no problem. Dan Horstman
  4. You could also search the National Archives and Records Administration (NARA) for footage. Much of this is public domain stuff. You will have to pay to have the copies made, but that should be it. www.archives.gov
  5. Can you post some pictures? Or at least list the type of viewer? If it is a Moviescop viewer it is pretty simple. You should probably attach the rewinds to a table (most have holes or slots on the base that allow you to use a bolt) The rewinds should be about 3 to 4 feet apart. So that you can stand in the middle and easily reach each of the rewinds. The viewer goes in the middle. Put your film (wound to heads out) on the left hand rewind (if you have your film on a core you will need a split reel) Thread the film through the rollers on the viewer and take up on the right hand rewind (you will need an empty reel or another split reel and core) When you wind through the film you should use your hand on the feed reel to create a little bit of drag. Most rewinds have a knob that you can screw in to adjust tension...but in most of old rewinds I have used, this is usually missing or broken...so use your hand on the feed reel. Wind through the film at a fairly steady pace, avoid abrupt starting or stopping so you don't cause damage to the film. And there you go. If you have an old desk or table that you can use just for this, then you might want to cut out a hole in the table, mount a small light and put a peice of white plastic over the hole. This makes it easier to see the image on the film when you are marking it for a cut.
  6. I have the Sekonic L-508 Cine and I love it. It is both spot and incident. I just wish it could read color temp.
  7. I just put it up on Ebay for sale. If you have any questions about the package, I'll be more than happy to answer them. Dan Horstman
  8. I'm pretty sure it was 16mm. I remeber PT Anderson's commentary track on the original DVD...I think he said it was 16mm.
  9. Shoot a lot of tests. That is my best suggestion. When I shoot cross process (usually old 7250) I over expose by 1/3 to 1/2 stop and have had good results. I have never shot any of the E-6 reversal film...only VNF. As far as what movies to look at for cross process: Lock Stock and Two Smoking Barrels, Summer of Sam, Three Kings
  10. If you are willing to go smaller, then you can find a 2.5 inch LCD screen on Ebay for about $50. I recently got one and it is perfect for my needs. You'll have to get a battery pack...but you can get one at Radio Shack.
  11. Shoot a clean negative and "mess it up" in post. If you want to establish the look in camera, however, shoot some tests with different filters, try push processing the film (to increase the grain and contrast), try different levels of under-exposure (give you more grain and make thinks more milky looking), or try cross processing color reversal film. With this route shoot tests, then shoot some more tests, and finally shoot some more tests.
  12. You don't have nearly as much lattitude for Reversal films as you do with Negative. On the reversal it is pretty much what you shoot is what you get.
  13. It is the Colorlab just outside DC. Come on by and I'll give you the 5 cent tour of the lab. For image quality the Super 16 is going to be better than the regular 16...more real-estate as you said. Plus you usually will have better lenses for the Super 16. The main reason I recomend Regular 16 for a FIRST feature is that it will allow you to make an Answer Print with Sound for festivals much cheaper than with Super 16. Not a requirement as many will screen on digital video now. With the low grain of the Vision 2 film stocks, making a 35mm 1.85:1 aspect ratio blow up from a Regular 16 frame is now a seriously viable option. (Thank you Kodak!) (My computer is having some problem and it accidently posted the quote before I started writing my response...then wouldn't let me edit the post...I hate you stupid computer from last century)
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