James Compton

Luz, ZGC has always been a good source for COOKE optical info. Contact them directly. https://www.zgc.com/t/techinfo/user-manuals.html

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

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.

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.

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.

Mono No Aware in NYC has FUJI 16mm film stock: http://mononoawarefilm.com/film-stock/

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

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.

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.

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.

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?

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.

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.

@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.

You are in Los Angeles. Charge $750. Tell the client you want half up front. Make the client sign a contract(1 page is sufficient) and have the document notarized(UPS store, the customer service desk at a grocery store) and make copies. Tell the client you will charge a fee for late arrivals to the set on the day of the shoot(notorious on music video shoot- you will learn B)) . DO NOT give away the finished edit until you are paid the second half in full. Be firm. Many wannabe musicians will attempt to take advantage of your lack of experience. Scout the locations ahead of time, take photos. Make a simple storyboard to help make the ideas concrete in the clients mind. REMEMBER, your time is valuable. Do not take crap from anyone even though you are just starting out. Most of all-HAVE FUN! :)

Vic, I sent you a PM regarding the camera body that has no viewfinder attached. It is the first photo in the first post of this thread.

I listened to that whole podcast, several times. Listen closely, what they did say is that if a cinematographer places a large custom order after the 6000ft master roll is made - they will entertain such offers. Have another listen, there is hope.

Joe, Journey down this rabbit hole. There, many treasures may be found. Enjoy. http://www.musicofsound.co.nz/blog/ https://hissandaroar.com/v3/ambience-libraries/

Jon, Thanks for posting that. Tony and the folks at CINEFILM (now Kodak Lab) are terrific. They have processed my color negative film for years with care and professionalism, and they still do. I highly recommend them to any production shooting 16/35mm color film in the Southeast U.S. .

Check out the OnDemand/VOD section of vimeo.com. There are some micro budget movies, ready to stream. The MUTINEER ACCIDENTAL EXORCIST TIME RUNNERS The INFINITE MAN DAY OF THE HEIST DEATHGASM DARK MOUNTAIN The HORDE LOST TIME

Talk to Bruce. Sent him an email. They will also convert ARRI 35 III, 35 BL2, 3, and 4. I think they will also convert the 535B.

Jacob, I used to work at an electrical supply house that serviced many theatrical film projects as well as TV shows. Key grips, gaffers and the folks from the art department were in there daily. The most popular bulbs that I sold to them were: Standard E26 base regular 25, 40, 50, 60 and 100watt bulbs. Then there are the "specialty bulbs like the PH211/75W, PH212/150W ECA 250W (tungsten),BCA 250W(daylight). Many people in the camera departments and art department wanted old fashion incandescent bulbs, buying hundreds at a time. They still do. Adrian and Stuart are right, it really depends on your needs. It's a process, test and find out what works best for your project.

Giorgio, Talk to Bruce McNaughton. His company converts 4perf 35mm cameras to 2perf and 3perf. I have had some modification work done by him. His camera modification experience is top notch. http://www.cinematography.com/index.php?showtopic=75027

Well done, Daniel !! I am glad to see you are still shooting film in Chile. I was very impressed when I first watched your 'Halengurous' project shot on Super 8, scanned at 2k. You have come a long way. Keep up the good work.

There are several things that contribute to the answer that you seek. Visuals styles/aesthetic, technology and trends. Watch the movie 'BOYHOOD' (2014). It was shot by 2 cinematographers on 35mm film over the course of 12 years. The only noticeable visual change, was the change from Zeiss Super Speed lenses to Panavision Primo lenses and Kodak Vision3 5219 in the final segment of the story.