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James Compton

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  1. James Compton
    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
  2. James Compton
    @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.
  3. James Compton
    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):
  4. James Compton
    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!
  5. James Compton
    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.
  6. James Compton
    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.
  7. James Compton
    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.
  8. James Compton
    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.
  9. James Compton
    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.
  10. James Compton
    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. TEXTURE is the word to describe them. Not a fan of LED's. I simply will not use them for photography. It makes it easier for all departments when shooting with a digital format. You don't have to like it or agree with me. That's just me.?
  11. James Compton
    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 insightful industry professionals, whose posts enlightened many post members. This time, I respectfully disagree on the aforementioned topics. Cheers.
  12. James Compton
    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.
  13. James Compton
  14. James Compton
  15. James Compton
    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.
  16. James Compton
    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.
  17. James Compton
    Yes, that makes sense. My original point was about Hong Kong martial arts movies being shot with anamorphic lenses, and not Techniscope.
  18. James Compton
    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:
  19. James Compton
    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.
  20. James Compton
    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
  21. James Compton
    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.
  22. James Compton
    Incredible! Thanks for sharing, Dom!
  23. James Compton
    @ Greg Agreed. @ Dom Thanks for that link. I found it quite useful.
  24. James Compton
    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.
  25. James Compton
    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
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