Kenny N Suleimanagich

I would direct your frustrations at Kodak, who were the ones that advised me on this in the first place. It has worked for me multiple times and in several airports around the world, US and EU included over a several year span. You have to be organized and take everything out beforehand. The film comes out, the rest goes, and they take it with them for hand-inspection which includes a check for traces of explosive etc.

Gregory Irwin has posted on here before about the fidelity of the True NDs...I can't find the post now. But that's what sold me on them and I rent them when I can even for film.

Not sure what about it's laughable. I flew with film two weeks ago. I just ask the security agents for a hand check. They rub the little swab, put it in the machine, and off I go.

Definitely not as checked luggage. With carry-on you should be fine, but I still tend to request a hand check. It takes 5 extra minutes.

I have to disagree about the solely "amateur" aspect of deferred pay. I work a lot in documentary, which is generally a very low-budget and spec-based affair (unless it's something like Frontline or another network-commissioned piece). The person I shot for had a lead cinematographer who himself had a documentary that won two festivals and got distribution. In addition to having a DP on deferred pay, he also had sound mixer and editorial assistant. Granted, he has sold several documentaries to TV in the past nevertheless, the relationship and agreement was such that all payment would be deferred upon sale of the finished product. In other instances when I have worked for free, it was people getting their start on a first project. I still donate time and equipment to situations like that. Especially if they're shooting on film, where my 416 can be of service. It's definitely case by case. If I'm doing an ultra-low budget music video or doc and have to ask a favor, I'll generally get that person a decently paying gig on referral.

I did once, shooting for a documentary. When it was sold to a television channel, I received payment in the form of personal check from the producer.

You should send a roll of each stock off to a lab for a clip test. They'll tell you the level of base fog in the film and how much sensitivity it might have lost.

Bernie O'Doherty does them.

I'd definitely be down to jump in on this. NYC located

Where can I check this out? I live in Brooklyn. Kennysule@gmail.comi

Since Dish Networks owns them now, you might want to start with their legal department.

The Arri IIC mags are gear driven - as are the succeeding, backwards-compatible generations (III, 435).

Amy Taubin had an excellent story in Artforum Oct. 2015 about film archiving, and the huge costs of digital archive upkeep. (paywall, sorry)

I loved the way those forest scenes were shot. The cool, foggy atmosphere coupled with the deep browns and greens reminded me of Big Sur in the summertime. I also enjoyed the use of over cranking.

The highlight issues were almost shocking for a 2015-released camera.

500T/7219 pushes pretty well, and remains relatively fine grained. If you push two stops, you'll find little in the way of a contrast shift but a slight increase in grain. Natura is a great film, I use it all of the time, and honestly you'd be pleasantly surprised if you experimented with 7219. I recommend shooting a stills roll of Cinestill 800T, which is respooled 5219 processed C-41 which yields slightly higher gamma and therefore tends to warrant the 800 ASA rating. Maybe even push it a stop or two and see what you find. When you have it scanned, zoom in 200% and that will be your 16mm frame and grain, roughly.

I second that opinion on the Cion. I never got a single frame I liked out of it after a week of testing. Shame, really, but the low ISO and crazy gamma curve is a deal breaker.

I watched a theatrical IB print of "Once Upon A Time in the West" a few years ago that, besides being a bit beat up, looked great.

Lots of numbers being thrown around. I just wanted to say that I recently rented my Arri 416 + Super Speed package to two features - one with a total budget of $47K shooting on 7222 doing a 2K scan finish, and the other with a production budget of $50K shooting color negative scanned and finished at 2K.. So micro scale features are being made on film. Kodak is very very open and willing to work with small productions.

I guess my question was: In what step would the matte be done? Internegative?

I didn't realize those were S35! I was actually recently watching some deleted scenes from "Remains of the Day" on youtube and they look like they're from a workprint – the image is 1.37 and you can see the boom pole dipping into the frame occasionally, with dust spots here and there. I was thinking about projection mattes and such, and wondering how common something like that was in the photochemical era: shooting full-aperture for a 1.85 finish.

Well done! I look forward to seeing the 35mm print at BAM, which is a 15 minute walk from where I live. Will that print be a show print or a release print? How many release prints are being struck by Oscilloscope?

I wonder if the 2016 prices of an optical reduction still work out to be less expensive than shooting 4 perf for a 1.85 release?

The Museum of Natural History recently underwent a huge remodel. I'd check if they still have the 15/70 setup. I believe it's only 68th street, but I would be glad to be corrected.

That is a bummer... I loved the Howard Hughes theater's IMAX screen. What's sort of crazy is how the 68th Street AMC is still the only IMAX 15/70 for many many miles. I think the next closest one is in Philadelphia. I think a lot of it has to do with how huge those projectors are with all of their associated gear. It's probably tougher to set up a digital system beside it than it would be for even traditional 70mm