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James Compton

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Everything posted by James Compton

  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.
  16. Dennis, Thanks for sharing this useful bit of information. I shoot with my film cameras in national parks and have been approached about permits by park personnel. This new court ruling should alleviate most of the unnecessary pestering.
  17. Wooden Camera Zip Box Mattebox Fits lenses with a 90-95mm front diameter. Never used. $52.00 shipping included for domestic U.S. addresses.
  18. 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
  19. 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
  20. @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.
  21. 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):
  22. 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!
  23. 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.
  24. 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 scale, large format with complex esoteric ideas. The cinemas are the best place to experience such art.
  25. 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 PINEWOOD, SCREEN GEMS or EAGLE ROCK studios, you are off to a good start. It never hurts to stop by PANAVISION Atlanta or the larger rental houses to see who's in town, possibly needs one more. Fortune favors the bold.
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