ryan_bennett

Ya uh, I don't know how to say this but usually if the camera makes a different sound than normal, there's a problem. It probably is the shutter or the film lost its loop, it happened to me and ya I got the light streaks which was okay for two shots, the rest of the roll will just be left and maybe someday, It'll have a use. Good luck though, I hope it goes well.

Wow, what smooth smooth shots. Ya her looking is creepy but thats only when you look at it so long, I highly doubt your cuts in the edit would be that long. Great beautiful shots though.

Why not trying 200T or some other negative that's easily available from Kodak or somewhere, that you don't have to reperf or slit. Were you going to do this yourself or someone else charge you to do it because it might be cheaper/easier just to buy fresh film.

Excellent analogy, i love it. Come on, have some fun, you have to have once just been a bit miscaring! Thats why I assumed you weren't experienced just because you never did or tried these things. I hope you understand now. Film is great, it's a lot of experimenting and mistakes. Go out and have some mistake and to some experimenting.

This sounds like someone new to this with a lot of worries, but hey we all did at one time! I used to have to freeze every stock I had, why I don't know. But hey some "bad" mistakes could be good too! As stated by everyone before, it doesn't matter if you load in broad daylight that's what the flanges on the side are for and yes you lose some and they give you some more to load. I've actually shot a film that was 20+ years old, black and white more than less likely just left in someones closet for that amount of time and it came out alright.

Ya seriously, how fast is your lens (what is the widest f-stop setting) and what camera are you using because I don't think it could read 200t or 500t, or worse even the ektachrome. The great thing though is 200t and 500t is negative and you get really great lattitude. Get an incident light meter.

Did you check out my photos in that forum? It's really better in motion and my final color corrections and all but just to see it on the screen it's amazing so much so I really wish I had the money to get a print done so I can have my movie projected instead of watching it on telecined footage on mini-dv. Never use that light meter. Also the contrastiness appears to come from the zoom lens in my opinion, not from the meter which you could consciously over/under exposed if you wanted to. Look at my photos and try and guess which one I used a 35mm slr M42 lens (a 28mm and a 55mm) vs. the meteor zoom. I originally thought it was a difference in film stocks (fuji vs. kodak) but no it's more the lens as I've used the camera in more and more situations I've noticed it. Here's a "short" I made, originally just me testing the damn camera out before I really invested in something. A lot of it is underexposed and this was when all I had was the zoom and the 55mm lens in an extremely small area, thus all the weird close ups and even worse, transfered on an elmo but whatever it gives an idea, it's black and white but still gives more of an idea. I just think you have to take in consideration who did the telecine and color correcting work as I think if I had more cash and sprung for a supervised transfer, those photos I have on the other thread would look a lot better. The best possible way to see results is just buy a roll and see for youself, just image your super 8 results but with so much more resolution.

I'm offended quite honestly (just kidding). I've sent a million people my samples of my k-3 and easily available if you search this forum . I can send you perfectly normal exposed footage if you give me some time too as I have many beautiful shots in both color and black and white. I know what examples you're talking about and those where shot with really old film not current 7265 or 7266 if memory serves correct. But here's an example that I posted on a thread a while back also it contains some other samples. K3 samples We're still in post working on the sound and I'm doing a few other things but hopefully sooner or later we'll have a small trailer up so everyone can see it in action. Also I tweaked the color myself in the final product.

Complain to Ian Fleming as it's pretty much exactly what happens in the book. It's not anticlimatic, it's a pivotal point for Bond that virtually frames him as to what he is in the rest of the series as he was really happy and ready to settle. Right now it doesn't make too much sense because technically it's supposed to be before all the movies we've already seen you have to look at it from the grand scheme of things. I'll agree with you it looked soft focus a lot of times, also hard to understand him but to be nit picky about the black and white segments? They looked fine and were taking a chance by setting it all up in black and white and trying something different. I just wished they didn't set it in our time and kept it in the cold war and Chiffre funding SMERSH not "terrorists".

So it's like 90 minutes of VO of a man doing what VISUALLY?

To be quite honest, I just shot a few frames of the color chart and that was pretty much it. The important thing is taking good notes when you send it in to the colorist and also talking to them. I pretty much got what I want but in the end I still tweaked it in my NLE. I think most "bad transfers" are ones that the DP or someone from the crew doesn't converse with the colorist.

Talk to a lab and shoot a small test and just buy some new fresh film!

where u getting a short end/ re-can? that would be why its scarse.

Ahh, Tri-x and Plus-x both have anti-halation for years probably since they were first made. A lot of ghosting can still happen if there's a problem with the pressure plate not set correctly so make sure it's firm. All films have this backing and can be prone to this not just black and white and thus why they have the anti-halation layer. Fomapan only advertise they have the layer.

WOW! Must've cost a lot of money but it's worth it great stuff!

I think everyone gave you good advice but seriously have you shot anything? Film or video? I realize that and not write or direct but find yourself a writer/director, find anything you can find that you can crew on. Try crewing on a student production at Alabama. That's the best thing if you do go to college, you will learn, meet people and you'll work together to make a movie but I just can't stress more that you should go out and shoot! If you're more of a camera man think about documentaries that you could make, etc.

I used the one supplied on Bonolabs website, can't find the link now. I would also make my own as described on same site.

Do you use a waveform monitor in premiere at all or zebra stripes? Maybe a link to one of the videos would be nice.

CineLab I stand behind these people. I scoured for cheaper prices and my word, didn't find any and they did a great job every time I have went to them. Hell, I learned how to deal with a lab and a good deal just from them. Give them a call or PM me if you want some samples.

SVA, Check out the price. I choose Emerson College (boston ma) and once in awhile I really regret not checking out SVA moreso, as I made it into SVA with good deal of grant money and got into the film program, whereas Emerson gave me a lot of money, it costs more than SVA and I didn't make it in the film concentration. Not like you can't shoot film on your own anyways. I choose based on location. Keep all of these things in your mind AND the fact that you will have to spend good deal of your money to make films, so I say the cheapest school the better. Waste all your money on the school then how you going to make your movies?

Bottle Rocket anyone? I can't say I've actually seen the short as the youtube incarnation is complete crap but seriously, I love that movie. And what about sling blade->some folks call it a sling blade, a short that was used to fund the rest of a movie for your enjoyment. It's not selling out all the time.

First off these books already mentioned are worth getting: And the Judith Weston books I highly reccomened myself. I have read all of these and I would also like to add "Total Directing" by Tom Kingdom. I have taken classes with him and his book covers multi-cam, etc. that you ask of as does Rabiger's book. For hte most part with camera movement you really can't read a book and apply it, in fact a lot of you ask you can't go to a book and automatically get a formula. I say this way too much, you have to try and experiment and fail or succeed. Really Judith Weston says this over and over, there's no end all be all. The best way is if you go and try and if you could afford one book I would say the Moviemakers' Master Class as it's an awesome peek at the big boys at work. I really learned a lot and it's great to see who loves zooms (Woody Allen) who hates them. Haha and Goddard who dislikes any camera movement that he doesn't seem necessary, that is moving the camera just to be cinematic. I have been thinking of that a lot myself.

If the pressure plate moves back and forth, rattles a bit, then you loaded wrong or put the pressure plate back in not correctly then yes, you won't have proper registration. A good deal of camera's don't have registration pins, such as the Bolex, so you don't really just pray for the best. As to wasting your money, yes it is a waste of money your money if you just want something to work and not practice and learn how to do it properly and just give up. Obviously if everyone had terrible registration problems, the K3 wouldn't be as popular as it is. I put 1000feet of color negative which costed me hundreds of USD in the end and got beautiful rock steady images. I'm glad I took the chance but this was only after practice, experimentation, and of course some fun (I shot tests that were also shorts, double duty). Can't one add a little 'nub' or some sort of device on the cover plate that pushes down the button on the K-3 that opens the loop formers?

I'm sorry if this is obvious but, you'll have to buy your own. Shooting the slide film is a great idea though you can learn but if you really want to test things using the camera/lens/filmstock, give Kodak or Fuji a call and grab the student discount.

Better question: Did they charge you? If they didn't I don't think they owe you anything to do it for free, but that's just my opinion. Where you clear on whether you wanted it on the dv or digibeta tape? Your other option is to just go into your camera or whatever you're playing the DV dub on and have it display the TC and read right off of that. It's not a big deal. If you have data code in the vtr/dv cam you could even make another dub by outputting the data code into another DV or VCR. Now I personally enjoy using TC window burns myself but is your project seriously ruined in the end without having it?