David J Paradise

What about Isoflex Special Kluber grease?

We had a BL4 successfully converted to 2-perf by Bruce McNaughton at ArandaFilm. I believe 3-perf conversions are also available.
Check out: http://www.2perf.arandafilm.com.au/

Thank you for your responses.

Are there any British based dops with their own 35mm cameras?

Very GOOD news. Thanks for posting.

Have a look at ... GRAIN ISSUES WITH 2 PERF ... just below your post.

What an awesome looking housing. I wonder how many of these they made?

The Fuji Vivid and Kodak Vision3 stocks are amazing and I think you'll be surprised at how good they look. You shouldn't have excessive grain issues with either Fuji 8573 or Kodak 5213.
I shot some 2-perf footage on a variety of stocks whilst testing a modified Arri 35BL4. Here's the Youtube link, standard telecine transfer:
http://youtu.be/Njm7DJDil1w
Sean Bobbitt shot some Fuji 500T 8573 in 2-perf for the 2008 feature; Hunger:

“The agreement allows Co3 to continue to provide a full 35mm/16mm film service. There is a huge appetite among local clients and those overseas to continue shooting on film,” said Patrick Malone, Director of Digital Film Services at Company3 London.

ttp://www.screendaily.com/5053929.article

Thanks David thats good to know. How clean was the processed footage? and did you have the neg scanned at Bucks or somewhere else?

Just a tiny speck or two, minimal really, and you have to look very hard to notice. It was a fast turnaround, at short notice, so I'm fairly certain they scanned it.

I recommend Bucks. Our producer liaised with Keith who offered a great service for a recent 2-perf project. It was essentially test footage but they did a great job and, in this case, had no issues handling 2-perf whatsoever.

Having unpaid interns is a sad situation indeed.
I've heard where some interns are actually expected to pay for the privilege of gaining experience.
Personally I find it all quite shocking and realise how lucky I was as a paid trainee asst-editor, albeit on minimum scale, back in the day!

I'd like it to be McGarvey but I've got a feeling it'll be Deakins instead.

It will be interesting to see the cost considering the first one had a budget of $230M.

It looks digital to me so I'll guess Red or an SLR.

Apparently some scenes were filmed in 2-perf, others in Super 35, Super 16 and even Super 8.

David - did you use something like "Yamaha midnight black TOUCH UP PAINT r1 r6 fz1 fz6" which is what I found on eBay?

The paint I used was listed with this title; YAMAHA R1 / R6 MATT BLACK TOUCH UP PAINT.

The one you found could well be the same as it's also for the R1 and R6.

It works well for disguising chips and scuffs on the 35BL4. Once dry just wipe over with a little WD40.

The Eclair ACL is a great camera.

There's a South American filmmaker; Daniel Tonitto who's recently made a feature with the ACL. You can contact him on Facebook. The film is called X,Y&Z and is available on YouTube: http://youtu.be/22nRJ5SNdDY

You may be interested to know that the ACL was used, back in the late 70s, to shoot Tibet: A Buddhist Trilogy, again available on YouTube: http://youtu.be/R8V0_uSCURM

Mike Figgis had a digital disaster just the other week with a screening of The Co(te)lette Film, in his own words:

screening last night of Co(te)lette ....arghhhh, a 33% crop, eyes and feet MIA. Sprint up to projctn booth to discover they know... so unbearable to watch. Folks think its 'experimental' framing.

Tip of the iceberg.

I'm not sowing dissension, I'm being realistic. For every one show shot on S16, I can see 10 shows shot on digital. That says something to me. I loved shooting film. I could see it, hear it, touch it. It is beautiful. But, the ones shooting film now will just experience the inevitable in a few years. Going back to the original posters question, I think it's better to learn digital first, lighting, operating, composition, etc. then learn film or exposure because the odds are that any job he gets or project he shoots will be digital and not film. It takes a long time to really understand exposure.

Moonrise Kingdom of course.

In some ways it's better to learn digital first in terms of convenience and quantity of output. Although, there is the choice of Super 8mm let's not forget which is good for focusing discipline and efficiency.

But really, at the end of the day it's his choice, it's his project and it appears he's going for 16mm. Crucially; it's getting the film made that's most important whether it's done digitally or on film.

I can't foretell who will end up doing what in a few years but I can say that with a Best Picture nominee and with one of the highest rated cable series utilizing 16mm, the format isn’t dead.

They shot the Coney Island Documentary 'Zipper' on 16mm.

The majority of filmmakers I know are keeping perspective by embracing both film and digital. It's an exciting time with a huge array of tools and formats to choose from.

Also, all the crew members I know have a sense of proportion and are keeping their options open. After all, why would anyone shoot themselves in the foot and sow dissension that could possibly affect future work on a film based production?

However, nobody is trying to stop a technological movement; that's just silly.

The subway scenes in ‘Black Swan’ were recorded with the Canon 7D, which shows Aronofsky isn’t reluctant to embrace new technology.

...and, by the way, I almost forgot to mention The Walking Dead series; S16mm.

I liked Black Swan which I seem to remember is cropped Super16!

 

love

 

Freya

Yes, Super-16mm for Black Swan; looks amazing!

Might as well mention The Wrestler and of course The Hurt Locker.

16mm was also used on the following recent BAFTA winning & nominated films: Jade, Shifty, Sex & Drugs & Rock & Roll.

Bill DiPietra summed it up perfectly; "No filmmaker - especially a new one - should be forced to "go with the trend."

As a creative artist you must dismiss the cynics and go with your vision.

Whether you originate on film with 8-16-35mm or record digitally; the choice is yours to make.

16mm is definitely a viable option and if it fits your vision then go for it and don't let the doomsters put you off.

Unfortunately, many crew and technicians don't have the choice because digital is dominating their field; hence the cynicism.

However, you're not asking to participate in somebody else's dream. As the creator of your project, the instigator of your dream, you do have the choice.

Follow your gut instinct; start off with a 35mm stills camera, then shoot on 16mm and make it happen.