James Compton

William, There is a place in London called no.w.here . They sell filmstock and offer classes on how to run an optical printer. They used to process B&W 16mm film onsite, but have stopped. It is now offered at www.filminprocess.com . Beau Haut and Karel Doing offer processing and printing at The University of East London within Fine Arts Departments' 16mm facility.

I really enjoyed this movie. It was well balanced with just enough comedy for an action movie. Regarding the cinematography...... I have never been a fan of Robert Elswit, but I like the way he lit this film. I especially like the way he took a few risks on this one. In several interior scenes, Ving Rhames' face was underexposed about 4 stops, with the eyes catching a small amount of eyelight. Bold, yet it looked really nice at the same time. In another scene, there was also a very cool anamorphic bokeh of a flickering torch that almost hypnotized me. This movie, is for sure one for my home video collection.

The Arri Varicon will work with some digital cinema cameras. There is a an article in the July 2015 issue of American Cinematograper. It's in the Production Slate section. Chris Manley used it with the ALEXA to shoot the TV mini-series, The Secret Life of Marilyn Monroe .

I am happy to see Janus shooting 35mm anamorphic again. Anamorphic photography has a certain "bigness" that I really enjoy. It makes things larger than life, really works with the right tone.

1 set of OCT18 LOMO Prime Lenses I am the only American owner of these lenses since a direct purchase from the Ukraine in 2004. 75mm 2.2 50mm 2.2 35mm 2.2 All Lenses made in 1978. OCT 18 Lens Mount $725 USD - FREE SHIPPING within the United States https://www.flickr.com/photos/132493942@N02/sets/72157652638064874

Leroy, Welcome to the forum. This topic has been discussed several times before. Some of the answers that you seek can be found in this thread. : http://www.cinematography.com/index.php?showtopic=65002&do=findComment&comment=416550 One of the fastest ways to get closer to that look is to buy an old EF Mount Canon Still camera Zoom lens on EBAY and adapt that to your camera.

It looks as if The Hollywood Reporter is the first to break that story. No other tech details have surfaced, yet. http://www.hollywoodreporter.com/behind-screen/star-wars-rogue-one-be-801322 I'll bet Greig is using 65mm film for dialouge scenes and the ALEXA 65 for special FX scenes.

Great post. Just made my day. Thanks, Tyler.

You need to test the various methods that are possible and see what works best for your sound mixer's setup.

Raj, You can export multiple audio tracks out of FINAL CUT PRO X : https://support.apple.com/kb/PH12575?locale=en_US You will have to change the audio channel configuration. Set it up as 5.1 or 7.1 audio channel configuration and export those audio channels as stereo or mono. Important: If you subsequently change the channel configuration, all custom audio component names are reset to the original name. You can also choose a channel configuration when exporting roles as audio stems for mixing or post-production. For more info check this out : https://support.apple.com/kb/PH12580?locale=en_US&viewlocale=en_US

Rest In Peace, Andrew. I found your work inspiring and entertaining. Thanks for the memories.

Contact senior forum member Dominic Case. He can get that info for you.

Yes, they work fine. You will need to add 1/8 CTB when using paper lanterns - especially if matching with an HMI source. That 1/8 CTB will counteract the warming effect the paper has on the color temperature. The ANSI code for the daylight 250W E26 Medium base bulb is BCA. When shopping for bulbs always reference the ANSI code ( BCA, ECT, EBW). It's universal and will narrow the search quickly.

Brian, thanks for posting that. I saw it earlier in the day and did not have a chance to post it. There are so many Star Wars junkies on this forum, I 'm surprised it took this long for anyone to say anything. I was floored when I first saw it. There are so many thought provoking images in the Teaser #2 trailer. I can't stop watching it. I have heard a longer version of that trailer will debut very soon. Here is a direct link to the new teaser trailer. https://youtu.be/ngElkyQ6Rhs

Here ya go : https://youtu.be/2gX_7qzB7MY

Here are some examples (none of them are cross processed) shot by forum members Friedemann Wachsmuth, Heikki Repo and Maik Lobborn, respectively. Super 8mm: https://vimeo.com/61079295 16mm: https://youtu.be/TjGrnBOCQoY https://youtu.be/Iw2SEtFLyzA https://youtu.be/mBhCT1-8wvk Aaton A-Minima 16mm https://youtu.be/UgWLgok_tQc This movie is set for theatrical release in September. Parts of it were shot on 16mm RSX-II 200. http://www.imdb.com/title/tt1596345/?ref_=ttspec_spec_tt

Richard, I need to see the socket. Take a a clear picture of the socket, and post it in this thread. That will narrow down the bulb search. What voltage is the printer operating on?

UPDATE: I ran across this news article a few days ago: http://www.democratandchronicle.com/story/money/2015/03/14/film-hollywood-richard-crudo-spielberg-tarantino-kodak-movie-digital/24780181/ I was quite surprised to see the idea or re-releasing the older range of filmstocks, finally gaining some traction at KODAK. The conversation is definitely happening there. The article also mentions that motion picture R&D has stopped for the time being. That is not necessarily a bad thing either.

Yeah, I really like that color combo on Nosferatu. Have a long talk with the set designer or whomever is in charge of set dressing. That can go along way toward helping you dial in the look you are after. Check out this short 16mm 200T test with the vivid STORARO (ROSCO brand) gels . It was shot by one of our veteran forum members Jonathan Bowerbank. Check out how the red looks much more clear when underexposed 1 stop.

Jason, One the first things that you need to get is get a ROSCO or LEE swatch book. They usually give them away for free at film/tv production supply houses like BARBIZON or FILMTOOLS . http://www.rosco.com/sbreqs/ You really need to get one to have a better tactile reference before buying gels. ROSCO also offers an online swatch book : http://www.rosco.com/spectrum/index.php/tag/swatchbook/ Basil Gogos...wow.. what a talent !!! Regarding that look, let me say first - DO NOT BE AFRAID TO USE HARD LIGHT (PAR 64, ellipsoid, fresnel fixtures). Experiment with scrims and flags to sculpt the hard light and apply soft background light of various color washes. Most importantly, have fun!

Test. Conduct plenty of tests. That will prevent any surprises. I've talked to a few rigging gaffers on some very big budget movies here in Atlanta that were caught off guard when the set decorators installed cheap LED tape lights in that background that caused flicker on-camera. When you shooting any LED tape that isn't 'LITE GEAR' brand, you HAVE TO TEST. There is a brand called 'HIT LIGHTS', that makes a 300 diode 16ft roll of RGB, Warm White and Cool White that has passed the test with some of the studio level shoots in town.

Simon, That is great news. Would the proprietary developer also be available in large amounts?

You can do it. Reach out to investors that are sensitive to the arts. Spend some time at local museums in Vancouver. There are events held at the mueseums that are populated by people with deep pockets and sometimes similar visual interests. Go to those events and mingle. Rent an ARRI 765 camera, get some 65mm film stock and shoot a 5 minute short. Rent an auditorium at the local museum and host a ''screening"/pitch session to an RSVP audience of potential investors. I say start with 5 perf 65mm, because it will give them a taste of where you are heading with B&W Large Format imagery. Contact GIGABIT film (if they are still around), see if you can get them to make you about 20,000ft of 65mm mopic film. The money is out there.

Hey Satsuki, Have a look at the photometric chart at the bottom of this page. That should give you a good starting point. http://www.mactechled.com/product/960ls-led-sled-dmx/

CinePost is the cheapest telecine house in Atlanta. http://www.posthouse.com/ If you need something fancy, check out Crawford Communications: http://crawford.com/