James Compton

Get an adapter so that you can use old lenses( example: a CANON FD to EF adapter ), use a Tiffen Pro Mist 1 filter.

C'mon Freya. C'mon. I saw that Camp Lo video back in the day when it was brand new, broadcast on TV in 480i. That's 35mm telecine with some obvious Power Windows and telecine diffusion. There's also GRAD filters used, as well as 48-96fps slowmo. the African American skintones would block up on Beta SP. I can look at the sheen in the waitress's hair and tell that's film. The set was also smoked up. Another technique that might work for him is shooting with a SONY HI-8 handycam.

All music videos from the 1990's were either 35mm or 16mm film. Get your hands on a cheap KONVAS 1M ( very cheap-less than $800 cheap) and use KODAK VISION3 500T , tell the lab to push the film 1 stop. Transfer the film to video on an older CCD telecine (RANK Turbo). Use a heavy compression ratio, like the DV Codec when editing - DO NOT USE PRO RES if using Final Cut Pro. You will be happy with the results and you will have a film negative that will last a long time - longer than any memory card or hard drive. Should you decide to shoot digital, get your hands on a Panasonic HVX200, use that. If using a DSLR, buy an adapter that allows you to use older NIKON or CANON glass from the 1970's. The focus of the aforementioned techniques is to soften a high res image. The 2 most important parts of creating a vintage look are set design and wardrobe. High budget music videos in the 90's were shot with Panavision or ARRI cameras with PRIMO, Zeiss Super Speeds or Cooke S4 lenses. If you watch DVD compilations like the Director's Series, you will see the quality actually exceeds today's standards, where budgets are now 1/10 of what they used to be: Director's Series, Vol. 3 - The Work of Director Michel Gondryhttp://www.amazon.com/Directors-Vol-Director-Michel-Gondry/dp/B0000DBJ9J/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1411566971&sr=1-2&keywords=michel+gondry Director's Series, Vol. 2 - The Work of Director Chris Cunninghamhttp://www.amazon.com/Directors-Vol-Director-Chris-Cunningham/dp/B0000DBJ9I/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1411567133&sr=1-2&keywords=Director%27s+Series%2C+Vol.+2

Bill mentioned Urbanski Film. Here is the website: http://moviecraft.tripod.com/supplies.html FILM CEMENT. 1 ounce bottle with applicator brush......$9.00FILM CEMENT PINT CAN. ..An excellent savings....16 ounces..plus an empty 1 ounce bottle and brush for application. $38You can also buy it from Christy's in Los Angeles . www.christys.net

There is alot of misinformation regarding the current state of 35mm release prints from the major studios. Let's clear that up a bit. 35mm Film prints ARE still being made. Here are some of the new films and places you can watch them. Yes, PARAMOUNT is still making film prints. MOVIES: These 35mm prints began showing opening weekend : TNMT - TEENAGE MUTANT NINJA TURTLES (Paramount) - 8/8/2014 TRANSFORMERS (Paramount) - 6/27/2014 GODZILLA 2014 (Warner Brothers) DAWN OF THE PLANET OF THE APES (FOX) TAMMY DELIVER US FROM EVIL HOW TO TRAIN YOUR DRAGON 2 SIN CITY 2 - 8/22/2014 (Dimension) GET ON UP (Universal Studios) MILLION DOLLAR ARM THE FAULT IN OUR STARS LUCY - 07/25/2014 (EuropaCorp) MAGIC IN THE MOONLIGHT - 8/15/2014 EARTH TO ECHO EDGE OF TOMORROW VENUES: Chicago - Gene Siskel Theater,Brew & View at the Vic Theatre, The Logan Theatre Los Angeles -The GLENDALE GALAXY, PACIIFIC SHERMAN OAKS 5, Madison., WI - Market Square multiplex Madison., WI San Francisco,CA - The 4 Star Cupertino, CA - the BlueLight Cupertino, CA Leicester, MA - The Leicester Triple Drive-In Atlanta, GA - The PLAZA Theater, Town Center Cinema If you have a theater in your town showing 35mm prints, please add your input to this conversation.

All of the film footage that I have shot has been at 180 or 144 degree shutter, I can recommend several Hollywood films that have used the narrow shutter look, very well. Check out the movie 'KILLING THEM SOFTLY', starring Brad Pitt. The one scene in the movie that used a 90 degree angle is the scene where Ray Liotta's character is beaten by two thugs in the rain. The frontal lighting, narrow shutter angle and the rain REALLY gives the scene a visceral effect. Another example is 'THE CROW', starring Brandon Lee. Toward the end of the film, when Eric is finishing the bad guys in their lair. There is a short 'light-outs' scene where the practical lights are flashing and a narrow shutter is used to a creepy, ghost-like effect.

Can you get a flicker meter and test before the shoot? Find out who the manufacturer is and what the CRI of that bulb is. It can add greenish spike to your images, also an incomplete color spectrum. Check this out: Solid State Lighting Assessment Technical Informationhttp://www.oscars.org/science-technology/council/projects/ssl/technicalinfo.html

STAY ON TOPIC, or start a new thread.

Several cameras that make good 2-perf conversions are the ARRI BL3 or 4, ARRI 2C, ARRI 35-3, KINOR 35mm, EYEMO 35mm , MITCHELL 35R and the Moviecam Compact.

Check out REEL GOOD FILM : http://www.reelgoodfilm.com They have reasonable prices. Right now, they have a few recans of KODAK 5207 250D, and factory cans of 16mm KODAK.

I was once told by Bruce McNaughton at ArandaFilm, that the Konvas cameras are very difficult to convert to 2-perf. He said something about it being more expensive than it is really worth.

I really enjoyed watching this movie. This film was a time capsule in many ways. Regarding the cinematography, it was a delight to see the various film stocks onscreen at different points of the main characters' life. You get to see the visual evolution of KODAK film stock/charactertistic curves in one movie. The softer edge and punchy contrast of the VISION 1 line. I noticed that some of the scenes around Ages 7-11, that were outdoor neighboorhood walk & talk scenes were underexposed by about 2 stops in shaded areas, it made the grain more pronounced, giving it the appearance of old film. I was happy to see the contrast of what looked like KODAK 5246 250D onscreen once more. The Ages 12-14 years had that bland VISION 2 look to them. The VISION 3 became obvious, as well as the lenses switching to PANAVISION PRIMO. The snappy-sharp combination of KODAK VISION3 5219 had a 'modern' feel, especially the night scenes in Austin,TX. Watching this film gave me the same feeling as going through my vinyl LP and cassette tape collections, remembering where I was in those times.

Will it be possible to buy direct from LOGMAR in Europe?

That is a bayonet DC (dual contact ) socket. You will be looking for a quartz 100/150/200w 120-130V DC bulb.

Prashantt, According to 1st AC Oliver Driscoll, The cameras used on 'Captain Philips' were the Aaton XTR Prod 16mm, Aaton 35mm Penelope, Arri 235, 435 and ARRICAM LT. VISTAVISION 35mm was used for VFX plates. The ALEXA was used for aerial shots. GOPro cams were used for POV shots of the SEAL team parachute jump. No C300's were used on the film.

Georgia is abuzz with a total of 37 features and TV shows currently in production. On a weekly basis, I've spoken with folks on TAKEN 3, TRIPLE 9, BETSY, HALT& CATCH FIRE, RECTIFY, FAST & FURIOUS 7 and many more. Seeing alot of L.A. people here, now. I'm interested to see what types of projects are shot at the new PINEWOOD studio that is being built south of the city in Fayetteville.

Aaton Super 16mm cameras were used for the Somali fishing village scenes. They then switched to 35mm once the pirates board the American shipping vessel. The C300 was only used for aerial shots. Check out the November 2013 issue of American Cinematographer.

Contact me via PM and I will send you the PDF. ALL ARRI 35mm cameras have been factory 4 -perf until 3-PERF became popular in the 1990's for television productions.

Yep! It was also nominated for an Oscar for Best Cinematography. I'm glad to see the folks at the Academy actually watched the film and gave it a chance.

I finally had a chance to watch 'The GRANDMASTER' at a local cinema. I thoroughly enjoyed the film. There was a certain atmosphere to the film that reminded me of 'In The Mood For Love'. Wong's visual style, the story and Philippe Le Sourd's cinematography meshed well. The opening fight scene in the rain has a nice surreal tone. FUJI Eterna 500T 8573 and COOKE S4 lenses together, transformed dark reflective rain puddles into black velvetine ink. The top lit brothel with lots of reflective gold trimming, shadows really hit a sweet spot in both color and luminance contrast. Le Sourd used black silk to shoot through like a curtain while Ip Man's (the main character) wife Gong Er is contemplating the future - creating a very soothing meditative effect. I have a nice collection of 35mm prints for home viewing, I am going to make it my business to locate a print of this film.

Sergey, Do you have pictures of the 100mm LOMO Anamorphic Lens?

Thanks for that info. More options for film emulsions are great news.

I watched a 35mm print today. The 35mm footage stood out. Mostly aerials. There is a credit for film loader on the main unit cinematography.

The Robert Richardson work was obvious. The South Korean military base interiors were backlit with glowing highlights.