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James Compton

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  1. Wooden Camera Zip Box Mattebox Fits lenses with a 90-95mm front diameter. Never used. $52.00 shipping included for domestic U.S. addresses.
  2. The first theatrical application of this technique that I remember, us from the movie 'THE SCORE'(2001) directed by Frank Oz and photographed by Rob Hahn. There is an American Cinematographer issue from the summer 2001 covering the production. Hahn's motivation was the shadowy world of thievery the main characters occupied. The small mirror technique is used throughout the film, but is most obvious in the scene at the indoor swimming pool. https://flic.kr/p/2ka1Qfy https://flic.kr/p/2ka2d7W
  3. FUJI Eterna 35mm Panavision Primo Anamorphic Lenses https://vimeo.com/karandirects/hardhat 2perf 35mm KODAK 5219 https://vimeo.com/128531300 16mm KODAK high speed cameras NASA launch footage https://vimeo.com/4366695
  4. @Joshua Go for it. Take the leap. @Matthew Dude, you've got moxie. Grandpops would be proud. Those month-to-month joints have oodles of characters and stories around them. We now occupy an alterverse from the world we occupied a year ago. Build your 'FIELD OF DREAMS', while slanging beer and peanuts at the Dodgers games. Ya dig? People still need crews, the world is still thirsty for originality. Carry on.
  5. Stephen, I hand picked a few from the SHOT ON FILM channel that really shine: A Man of Enterprise (shot on Kodak 7285 Ektachrome 16mm) : The Peninsula Shanghai (shot on FUJI 400T) HURRY UP AND WAIT (5219 3perf): IN YOUR HANDS(35mm and Super 8mm):
  6. Stephen, There is a channel on Vimeo with nearly 1500 clips shot on film. 2perf 35mm , anamorphic, 65mm, Super 8mm and 16mm. The latest clip features a short documentary about Jean-Pierre Beauviala. The channel is SHOT ON FILM https://vimeo.com/channels/149193 Enjoy!
  7. That really is shocking that there isn't a decent IMAX venue open or a 70mm print screening within 700 miles of Los Angeles. I have tickets for the 70mm show in Atlanta and I'm excited. The projectionist is the same guy that operated the 70mm platter for THE HATEFUL EIGHT. He's also a skilled telecine operator/colorist and 35mm print collector, so the 70mm print is in good hands.
  8. The film is fascinating in several ways. It definitely requires multiple viewings. I watched it projected digital. I will see it in 70mm when the prints are available. Van Hoytema stays out there on the edge of exposure on night scenes. I was reminded of the underexposed scenes from INTERSTELLAR. Now, I see them as flavoring in a visual feast of photographical feats. The scenes filmed in 15/70 have a "bigness" to them that I quite enjoy. Overall, the negative exposure appeared tighter and more even in relation to his previous work. Christopher Nolan is peerless in combining large
  9. PRE COVID-19: Many of the tentpole productions shot here in Atlanta, hired all above the line in Los Angeles and below the line personnel, locally. It was possible to integrate into some of these productions and build strong relationships. POST COVID-19: Utilize your West Coast connections to get an agent and speak to friends that may be crewing up for an ATL shoot. Productions are resuming here, albeit at a slower pace than before. Reach out to the shop steward here in Georgia. Utilize social media to gain info on preproduction on upcoming shows. If you can get a foot in at PI
  10. Connect with the local Asian rock climbing community(it's real) on Instagram. Hire two guys to climb high up the tree canopy and rig reflectors. It will add a moderate boost of sunlight or shafts of light, depending on the scenario. Use fire and reflectors for night shoots. Keep your firewood dry(Monsoon season), and bring turpentine to paint on wood in your surrounding area to keep soldier ants away.
  11. No. I am not using the terms hard and soft in relation to shadow patterns. Characteristics like falloff and it's behavior upon striking a surface are part of what I'm referring to.
  12. No pseudo science, here. I am speaking from an artistic perspective. I am referring to light absent of color. Firelight - soft Incandescent - soft Fluorescent - crisp Quartz halogen - crisp Metal Halide - crisp High Pressure Sodium - soft LED - crisp, Sharp I have seen every permutation of LED technology and the light always appears thin and sickly. Now, throw color into the mix and it still looks thin. I can quickly spot a scene shot with RGB LED's versus tungsten units with gels. My eyes can perceive the defecits in the aforementioned technologies.
  13. Nah. Normally, I wouldn't take a stranger's word as truth without proof. Then the fella proceeded to show me photos of his home workshop where he built some of those fixtures, including a photo of him and Deakins together in front of the finished fixtures. It is not entirely impossible. Go figure. TEXTURE...yeah, I'll continue to use that descriptor. Quality of Light does not work for me in this instance. My eyes can clearly see the differences in light, diffused or otherwise. TEXTURE is simply the word that fits that vector of my perception. Phil and David are two deeply insightfu
  14. A few years ago, I worked at an electrical supply house in Atlanta. I sold bulbs and industrial fixtures to big budget studio productions. I had conversations with DP's, gaffers, key grips, set dec and makeup on a daily basis. They all said the same thing: we want tungsten bulbs. The best boy on many Roger Deakins projects spoke about making fixtures that utilize small quartz halogen bulbs, because the TEXTURE of light is more pleasing than LED.
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