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James Compton

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  • Occupation
    Cinematographer
  • Location
    ATL, LA CA, NYC

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  1. One of the best ways to deal with glass on fungus, is to place it outside on a sunny day. Go to the park or some place where you can sit next to the camera on a sunny day. Sit the lens on the ground with the rear element facing up toward the sky. Do this at noon, when the sunlight will shine directly into the lens barrel. Make sure the aperture is open as wide as possible. 1 hour for each side of the lens.
  2. Well done, Uli. It looks really good. I really enjoyed seeing a micro documentary shot on 35mm. Thanks for sharing that. It's very rare to see working class Black/Asian/immigrant neighborhoods of London. Those types of images make the world smaller and people more relateable.
  3. That is 35mm FUJI, shot at 32fps. Historical context is important, here. This song was released as a single on January 17, 2001. Look at the fall foilage in the background. This was probably shot in October 2000, allowing enough time to edit and color correct for a January release. There were no decent in camera digital slow motion options, available at that time. You will find that film was still needed to replicate smooth slow motion at that time. I noticed this clearly when watching movies/TV at that time. You'd be watching digital footage, then BAM!! 35mm slow motion. David. Finches still continued shooting 35mm on 'THE CURIOUS CASE OF BENJAMIN BUTTONS'(mostly shot on the VIPER) for slow motion sequences. The Asian skin tone depth is one of the hallmarks of FUJI filmstocks. Look closely at the party scene. Strobe lights were used. That would have caused artifacts with digital cameras of the time. The style of this music video borrows heavily from American high budget hiphop and R&B music videos from the late 90's/early 2000's. Basically anything directed by Chris Robinson and Hype Williams.
  4. Just like studio album recording, microphones of every type, benefit from a pairing with a microphone preamp. There are small ones that will fit into your camera setup, very well.
  5. Go the the Local 479 office when you arrive in Atlanta. Introduce yourself and explain your plan to gain electrical on the local shows. There is someone there to help set you on the right trajectory.
  6. Contact Bruce McNaughton at The Aranda Film Group. The site is: www.arandafilm.com.au
  7. QLM is out of business. I called the number and spoke with the friendly business owner. He referred me to SPECTRA Cine Meters 818.954.9222 . He said they might be able to service Minolta color meters.
  8. I need to rent a LOMO 75mm Round Front Anamorphic Lens OCT19 mount for 1 week. I will pay $1200 for the 7 day rental. It is for a project that I am working on. I am located in Atlanta, GA.
  9. Rest In Power, Bernie. He made laugh every time that I spoke with him on the phone. His wisdom and candor lives on, beyond his passing.
  10. The processing issue may be lab dependant. 2 weeks ago, I processed FUJI 160T VIVID 35mm at Kodak Lab Atlanta with no issues.
  11. Now that's more like it, bubba. 😉
  12. Yes. To rid the lenses of any minute mold growth, take them outside on a sunny day at 12 noon. Place them on the ground with the front element facing the sky. Let it sit for 15 minutes. Reverse the lens so the rear element faces the sky for 15 minutes. This helps, but careful, dry storage is the best for keeping mold out. Contact Bernie at www.super16inc.com or cinemaengineering.com to have the camera bodies and magazines serviced.
  13. Hang on there, bubba. My list membership goes back to 2004. https://flic.kr/p/2kUHj1V
  14. Check out konvas.org, join the list serv. This is 20 years of Konvas/Kinor information in that group. It's run by Adam Frey. He is very helpful, can answer many Konvas questions for you.
  15. 3/8" to 1/4" Tripod Thread Adapter is what you need to use Konvas/Kinor cameras with standard tripods and camera baseplates.
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