James Compton

                  In 2024, there are still labs that process Super8/16/35mm in Australia.

NEGLAB

https://neglab.business.site

REWIND PHOTOLAB

https://rewindphotolab.com.au

NANO LAB(Super 8mm only)

https://nanolab.com.au

There are also still film labs there

PHOTOBEE

https://photobee.com.au/film-developing

FOTOFAST

https://fotofast.com.au/film-processing-services/35-film-processing

DO FILM LAB

https://dofilmlab.com.au

Right there with you, Stephen. I am really digging this show. The camera work is truly dynamic. The "on court" camera angles are shot by an operator on roller blades, he is also using a hi-hat on a low spinning turret for quick pans and 360 shots. 

   The set design takes me back to my early childhood. The team office looks like the building my dad worked in. The production designer deserves an Emmy award for such fine detail. Small things like the home stereos and the wood paneling in some of the homes. Good stuff. 

   The way Kodak VISION3 is pushed for increased contrast adds emotional intensity. It's different from the clean 35mm early telecine that I remember from early 80's NBC/ABC/CBS TV shows, but it works so well in transporting the viewer back to the early 1980's. I am definitely adding this show to my Blu-Ray collection.

 Buy light colored clothing, they will be on sale now that summer is wrapping up. Fabrics that wick moisture(sweat) and made of breathable materials. Buy a few Frogg Toggs Chilly Pads. Soak one in water and wring it out. Wear it around your neck. It will keep your head cool from the neck up. I've seen them in use here on sets, in Atlanta. It works well in the blazing Southern heat, as well as in the desert.

For your camera gear:

Get a few clear optical flat filters for your lenses to keep dust off of the front element.

Buy large ziplock bags for items that you want to protect from the dust(it's everywhere).

Buy a white umbrella, attach it to a grip arm that you can mount in your staging/planning area. It will knock down the sunlight, making it easier to focus and concentrate without being fatigued by the sun. There are also umbrella hats that you can wear while operating the camera, you will look like an absolute goofball -but you will get the shot. Not to mention you can see through the viewfinder /monitor in bright direct sunlight.

One more thing, find a fruit stand/local market(MUSCAT FOOD MARKET near Hwy 1) that has melons(watermelon/cantelope). Slice up one in your hotel room and bring a few pieces in a container. THAT will completely refresh you while in the field working.

 These new ORWO color negative film stocks have a unique, dirty dupe grind house look to them. They have lots of potential for "alternate looks". Thanks for posting these tests.

Good show. HBO has a soft spot for film origination, it keeps me coming back for more. Right when people think all the shows have stopped shooting on film, a new one pops up. 

I'd say film is alright, will be be just fine. Mike Brown, the Southeastern US Kodak rep holds seminars locally to help spread celluloid gospel. Shouts out to Kodak Lab Atlanta for keeping it soupy. 

 Regarding, lighting film on a budget.. Utilize practicals more as accents that boost exposure on a supplemental level. I remember reading an interview with Conrad Hall ASC in ASC mag. He emphasized the importance of getting your T stop at least somewhere in the frame and not fussing about the rest too much. He said you can use a tiny fixture or a big one - it doesn't matter. One neat little trick for extending an light source from outside through a window, is to rig a window stretcher. This is done to boost the light from a 2K outdoors, going into a room. Put a Kino Flo or similar fixture above the window on the inside, pointed at the talent. Apply gels and diffusion to balance the smaller fixture to the outdoor fixture. Et voila.

    Uli mention 29 SELECTED film in Cannes that are shot on film. Then you have TV shows that are shot film. Season 1 of 'WINNING TIME' was epic, and here is the trailer for Season 2, as well as the behind the scenes footage of 'ASTEROID CITY'.

This will help you to view online examples of the various older filmstocks. Go to www.vimeo.com Go to Watch>Channels.

Then type SHOT ON FILM in the search bar. Go to the left side of the screen and select 'CHANNELS'. It's the channel with 2200+ clips. Go to the First page (444). You will see footage from projects shot on FUJI Eterna, FUJI Super-F series, KODAK EXR, KODAK Vision 1 in various formats. Enjoy

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.

 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.

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.

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.

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.

Contact Bruce McNaughton at The Aranda Film Group. The site is: www.arandafilm.com.au

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.

 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.

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.

The processing issue may be lab dependant. 2 weeks ago, I processed FUJI 160T VIVID 35mm at Kodak Lab Atlanta with no issues. 

2 hours ago, Frank Wylie said:

Well bubba, I founded the listserv; that much is for sure.  It was so long ago, I probably can't remember the exact date but it changed hands many times, so I really can't be sure who copied the original email and re-posted it.

It was probably around 2001 or 2002 and a lot of the original listserv archives was lost in transition when the maintainers changed hands.

EDIT:  OK, a typo on my part. Here's the original header of the first post

From Wylie Fri Dec 15 21:29:00 2000
To: the konvas discussion list
Subject: Howdy

21 years ago this December.

Now that's more like it, bubba. ?

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.

 Hang on there, bubba. My list membership goes back to 2004.

https://flic.kr/p/2kUHj1V

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.

On 4/17/2021 at 10:00 AM, Boris bruno said:

Hi I just purchased a konvas 2m, new to this camera. What tripods would fit for camera. Also any stabilizers or glides that will fit. 

 3/8" to 1/4" Tripod Thread Adapter is what you need to use Konvas/Kinor cameras with standard tripods and camera baseplates.

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.

Wooden Camera Zip Box Mattebox

Fits lenses with a 90-95mm front diameter.

Never used.

$52.00 shipping included for domestic U.S. addresses.

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