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James Compton

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Everything posted by James Compton

  1. 1) Start with the 16mm projector foley see below: 2) Convert that video to audio 3) Bring that sound file into a DAW (digital audio workstation) and loop the file for 10 minutes. 4) Import that audio file into your video editing program.
  2. One KINOR 35CII 500ft 150m 35mm magazine $160 USD. Shipping not included.Worldwide shipping available. The magazine has not been serviced since purchase 6 months ago. My 35H camera only uses short throat magazines. This is the long throat receiver variety. It will not work on short throat camera/magazine receiver cameras. Some 35H cameras have both short or long throat receivers. See the pictures for reference.
  3. Yes, that makes sense. My original point was about Hong Kong martial arts movies being shot with anamorphic lenses, and not Techniscope.
  4. Thanks for the clarification Dom. Man, Robin..you are really hard-headed. I figured you'd learn a thing or two hanging with Batman all those years. :P Check out this quote from the article. "Joining the Hong Kong-based production late in prep, Hubbs was asked to shoot the picture in anamorphic widescreen. Unimpressed with the optics available from the studio camera department, he tracked down a set of Panavision lenses at a local HK rental house." It makes sense that he used a lightweight camera to photograph one of the most physically gifted martial artists that ever lived. In a sense, it's a Jeet Kun Do style that fits a movie starring the man that spear headed that actual martial arts concept. Throw out all that weighs you down. All that is not necessary. Flow with the moment. Just like you can with an ARRI 2C. Just sayin'. :ph34r:
  5. Sure. It's a 2C with a Panavision mount. In the print edition of the July 2013 American Cinematographer, there are photos of a 2C with a 50mm C Series anamorphic lens. There are also several scenes in the movie where the oval anamophic bokeh is visible. The movie was shot MOS, like most Hong Kong movies of the time. Read the article.
  6. Actually, no. 'Enter The Dragon'(Golden Harvest/Warner Bros.) was shot 4perf Panavision anamorphic. Mostly all of the Shaw Bros. films (36th Chamber of the Shaolin, Five Deadly Venoms, Five Element Ninjas, etc.) were all shot 4perf anamorphic. https://ascmag.com/articles/ac-gallery-enter-the-dragon
  7. Kodak 50D for exteriors and 500T for interiors. Underexpose the 50D by 1 stop in camera. Expose the 500T normally. Push each film stock 1 stop in the lab. Make a print on FUJI print stock. Watch the end result and enjoy.
  8. Incredible! Thanks for sharing, Dom!
  9. @ Greg Agreed. @ Dom Thanks for that link. I found it quite useful.
  10. Greg, No, there are not any MTF charts in that document-I did not say that there was. There is a healthy dose of "inside baseball" talk about the MTF performance from COOKE lens techs and guys like Denny Clairmont. Again, open the file in a PDF reader and search for MTF in the search function. You will find the instances that I mentioned.
  11. Luz, Contact Andree Martin at www.amcamera.com. He worked at Clairmont Camera for 33 years. He will probably have access to MTF charts for COOKE lenses. You will find some very interesting technical info in this mini-book "The COOKE book". Open the PDF file in a PDF reader and search for "MTF". Denny Clairmont (the founder of Clairmont Camera Rental house) talk about COOKE lenses and MTF. : https://www.cookeoptics.com/techdoc/B3D29DB118E18C8A85257BCF006922F8/Cooke%20Book%202016%20FDTimes-300.pdf
  12. Luz, ZGC has always been a good source for COOKE optical info. Contact them directly. https://www.zgc.com/t/techinfo/user-manuals.html
  13. Pablo, Send a direct message to forum member Martin Baumgarten. He has extensive hands-on experience, processing color reversal film. This number was used for his lab, I'm not sure if it still works. Plattsburgh Photographic tel: 518 561 6312
  14. Check out this book. The Location Sound Bible: How to Record Professional Dialog for Film and TV by Ric ViersIt's an interesting and useful read.
  15. Church. FUDDRUCKER'S makes some of the best burgers in the world (first to offer the Bison burger before Ted Turner made that idea into a franchise), I grew up on that stuff. They have fewer locations, nowadays. DO NOT EVER suggest GOLDEN CORRAL to our UK brethren. That stuff is cafeteria sludge for mouth breathers.
  16. Dude....... The next time you visit Los Angeles go to In-N-Out and get the Animal Style Fries and order a "secret menu" item like the Flying Dutchman. You will go back to the UK full and happy. Fat Burger is ah-ight, but forget everything else. It's all basic level stuff.
  17. Mono No Aware in NYC has FUJI 16mm film stock: http://mononoawarefilm.com/film-stock/
  18. Hey John, I dug up this info. Check in the good folks at film-photo, let us know what you find out. Film & Photo Ltd. 13 Colville Rd London W3 8BL UK Phone: (+44) 020 8992 0037 Mobile: (+44) 07974 926291 Fax: (+44) 020 8993 2409 E-mail: info@film-photo.co.uk
  19. Jeff, They're out here in Atlanta, many of them are very busy these days. I am looking forward to the next FULL FRAME event.
  20. Kodak 35mm for daylight scenes, Arri Alexa for night scenes. I remember reading an interview with the filmmakers around the time the movie was released in theaters. It's mood, look is somewhat similar to 'THE FLORIDA PROJECT', currently in theaters. That movie also used Kodak 35mm for day, Alexa, iPhone for a few night scenes.
  21. I had a similar issue with an ARRI IIC, years ago. I taped the magazine door shut with camera film roll tape (like always) and the problem stopped with that mag until the seals were repaired. Do you have a DSLR? Take a tiny battery powered LED and seal it inside the mag. Take the mag and your DSLR(and a tripod) into a darkroom. Shoot a Long exposure, (pointed at the mag) of about 2-5 seconds with the light on inside the mag in the darkroom. If there is a leak, it should look like a comet streaking through the darkroom.
  22. SEPERATION. DIMENSION. Color Contrast. Use cheap RGB LED tape lights along the back of the booth. Get some 1000 watt PAR64 units or LED RGB PAR64 units. Backlight the dancers. Moving lights. Have a crew member rotate a light to emulate night club lighting. Anthony, is the same music video that you were budgeting for 2 months ago?
  23. William, Have a look at the movie 'THE CONSTANT GARDENER' (2005 shot by Cesar Charlone). Charlone shot Super 16mm for close, medium shots. 35mm for the wide shots. Same lenses on both formats, Zeiss Standard Speeds. Same filmstocks for each scene, pushed as needed to match filmstock grain.
  24. Samuel, Do it! You will have a huge advantage of having instant access to the Trona Pinnacles and China Lake, when you need creative inspiration or you are needing to teleport to an alternate dimension. B) You can make it happen, but you have to plan on the level of a James Bond villain. Plan on being on the West side of LA, twice a week until you begin to land decent gigs. DO NOT tell anyone about your mountain stronghold. I have made that trip several times, it's not bad. Planning and commitment will make it happen. You will sleep in peace while everyone else is sweating the basic essentials.
  25. @Macks Real talk. I can tell you have shot guerilla style in a big city. It's easy. It takes planning and hustling skills. A sub $1000 mv in LA is possible and happens a lot. That stuff winds up on VIMEO/YOUTUBE. Do we want to do that stuff? No, of course not.The problem is that the client must be made SERIOUSLY aware of the limitations. Shoot the video. Get your money, don't work for such a low price anymore. Don't make a habit of selling rocket trips to the moon for $1.
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