ryan_bennett

Apply to them all and see which ones you get picked - then decide where. That is unless you got in those schools. Check out Emerson, CalArts, SVA, etc.

That's fogging from a light leak. My guess isn't really loading, check your camera for all possible light leaks - TAPE THE EDGES of the K3 it's so simple and if there's a little leak that would stop it and just get a roll of b&w and see if you still have a leak or not. It could've been loading if was just be a little more careful and just tape the edges just in case. So do this and check the camera out again but I really don't think it's the camera and if it was, taped edges would work.

I love the "sex" scene the 10 minutes of flashing strobe lights, naked David Bowie, yelling/weird music (if i remember) and constant gun shots blowing.

Real fun. This movie depressed me and just upset me. Brazil depressed me but still, left me like a feeling of wow. This just made me made at the world.

But it's still nice film.

Hi all, I'm currently trying to raise some cash for my BA film for Emerson College, I'm really looking for help in anyway I can. I'm currently here, so check it out for more information and thank you if you pledge.

https://www.fundable.org/groupactions/group...9-20.4332260695

I wouldn't deal with those recans, short ends. It's so much easier just to deal with Kodak or Fuji directly, they're nicer and will go further out of their way for you plus you get new stock and exactly what you want.

Call up Fuji or Kodak for the new stuff, that's really the best way and if you're a student, there's a discount. You're also from Boston so you can also go to Boston Camera Rental too.

Is there truly any confirmation on this? Regardless, I agree, someone else from kodak listening to this could help set up a fund worthy of his name, that would just be amazing. Keep us posted.

I say just grab a R8 cam and some film and just shoot, hey maybe try some super impositions and double exposures. Will it help you to learn to load? Not really, it's super simple and the R8 cam's that I have you can't check and clean the gate which is really important. It will train you to keep careful loading the film because remember, you load it, shoot, then have to flip the film around and shoot again. I can vouch for the Canon Zoom 8-3, I really liked that camera and shot a music video half on it till it got destroyed and picked up a nice Yashica that was supposed to have backwinding capabilities, but it doesn't seem to actually work so now I'm really tempted to pick up an H8...

Just shoot.

The fourth shot is clearly taken with a hand held camera. In fact there's quite a few shots that are hand held in the example.

Great stuff! Boston K3 shooters unite!

First, I don't think El Barto is your actual name, as the policy of the forums please change it to your actualy First Name and Last name.

Reality, you can use internal or external. External is better but considering your situation it's probably easier, or use an external incident meter to get a good approximation, most incident light meters have the option to work either or ways. The problem with relying on internal is that sometimes the meter can be thrown off as it doesn't know what you want to exposed for, also depending on the camera you're using, the meters aren't trustworthy. Just do a serach here or on google to learn more about intricities of the light meter. There's also many books.

FilmStock reccommendations are another spotty thing because there is no one right or wrong filmstock. Kodak 200T is pretty good, maybe a daylight stock such as 50D if not a lot a light then I suggest something like 250D and use ND filters if needed, plus don't forget Fuji stocks so really. The stocks are colorful to begin with what really makes the colors pop is what colors you put on the screen and also some degree in the color correction during telecine. Maybe check out some reversal too but personally like the control of negative.

I think my best suggestion is first just go out there with some b&w plus-x or tri-x reversal and shoot some tests to learn then move on to more expensive stuff. Also remember running at 48fps you need another stop from 24fps. Really the easiest way to learn is go out there and shoot and experiment, we can lend you some help but really, go out and shoot.

I just put my camera in a tank and shoot, everything else especially in terms of exposure and lighting that's up to you and the mood of the script. Lake water... that might be a bit muddy and not clear so just give this a try and see. Some people would use filters for the way the skin looks underwater but I actually like the look that it gives. The best way to do this is literally just go out there and test it for yourself,

I recently completed a film for my advanced film class last semester. Before this I had done some video jobs as a DP, a few shorts and a documentary, but I had only shot 16mm for class assignments and other tests etc.

Just curious, which school?

Use drawings, photos (you've taken or others have) and examples from your favorite movies. That's the easiest way. Use those and think about what you like about them and what you want from those.

Empire was Lucas' problems with the DGA, Return of the Jedi's problem was he wanted Spielberg to direct it, but he couldn't because it was non-union so Lucas even went to David Lynch. Spielberg was the first option of Return of the Jedi, and Lucas had to settle for Richard Marquand and thus took a larger role on the production.

Here's some further proof but this information is in most books on Lucas:

http://en.wikipedia.org/wiki/Star_Wars_Epi...urn_of_the_Jedi

If you have an incident/spot meter and have no battery in the camera and operating totally manual, you can put whatever you want in it and set the exposure yourself.

Never use WD-40, Baby Power kids that's the best way to get rid of it and does no damage.

Just go to the SAG Indie site suggested or the sag site itself and find the closest office to you and just call them up or go there and talk with them. They'll be nice and extremely helpful plus its just good anyways if you do it.

Can you be a bit more clear, I'm not sure what the question is with how you phrased it but here's my go. Generally you can shoot on negative get it processed then take it to a post house and with a supervised transfer, see it right there on the monitors as the colorist makes the changes, usually to whatever format that you wish to then edit it on an NLE so you can eliminate getting a work print and use the tapes TC and keycodes to later go back to the negative and have it conformed to the EDL spit out by the NLE.

Asking if splicing and cementing is still relevant well thats a person question. At times I would rather have the physicallity of film and cutting it by hand. In fact I rather really enjoy it and find it relaxing if i'm organized. Some projects lend themselves to an NLE while others a Steenbeck. In terms of education, I think film students should learn the old ways and splice their films together then move up to the newer ways.

Is it the tape? Any time code breaks?

How about Tim Burton's Big Fish or Charlie and the Chocolate Factory, those have some really interesting skin tones like a glossy look.

Wouldn't you have to re-perf it for super 8 to begin with?

You just do it. You record the sound effect then transfer it onto full coat/mag stock and just use two tracks - mag stock being a perf by perf, frame by frame representation of the film, and use sound slug for the silenced parts, then you just put it when the door slams you just keep fidgetting with it till it works. At the head of the pix and sound you put 10 feet of leader, this you really need to see how to do so here: http://screensound.gov.au/glossary.nsf/Pag...rs?OpenDocument or do searches for more info.

I don't know I just think if its WGBH for real, it's respectable and a decent deal.

I called Fuli today to order a couple rolls of Vivid 160T in 16mm. $32.50 per roll, a little cheaper than Kodak... all was going fine untill they asked me to fax or email a photo copy or scan of my credit card and drivers liscense. To me this sounded like a big unorthodox pain in the ass, so I told them to forget it. If it isn't bad enough that you can't order film stock online from Kodak or Fuji, like you can purchase anything else on the planet online. But at least when I call in my order to Kodak, I just give my info and credit card # and I have film the next day. What kind of crack pot operation are they running over there at Fuji?

Ahhh... its so you don't get ripped off as anyone could just take your credit card number and send that into Kodak. You only have to do it once with Fuji, it also helps validate you for student discount. But ya once you set it up I can just call them, give few numbers and an okay and it's on its way.