SSJR

Is there official documentation that Kodak can give me in order to help with customs.

How do I get the certificate from Kodak so I can take the film through Airline security and Customs in India and the UK? ' Evan

Dude your fine :P

Your right Chris!

Pushing ektachrome. Anyone done it? any thoughts any screen shoots, footage?

Can anyone please explain methods they have used to make their film-stock look like technicolor from the late 60s? Wether it can be done in the telecine or by printing a certain way to get that amazing look? If you have stills that would be amazing! Thanks Evan

your right Pivco. I apologize. I saw your trailer nice job on the olympians.

Look, these forums are not for arguing. Your obviously trying to coddle your own Ego by use of this site. I am trying to learn. I don't like your aesthetics and you don't like mine. I am glad it works out that way. we have our own tastes and so be it. you need to grow up as well. I admit i do have so growing to do. Evan

I will try to be more risky next time :P This was my first and second film shoots as a cinematographer. I am primarily a director and photographer I made the reel for fun. I have been trying to take on all aspects of film production and become every creative position so i can know how to approach different department heads and really become familiar with the different positions. I am 21 years old, these are student films. I have much time to grow. A large portion of not being a risk taker is because I still don't know the lighting equipment as well as I should because I have been focusing on how to tell a story, not just to jack off to the beautiful image created just for the sake of making them beautiful. Overall I make narratives and as far as I'm concerned right now, Im focused on making those images tell a story. Yes interesting beautiful shots are important, but they come second right now, until telling the story becomes a second nature. Thanks for your replies. Evan

Yeah dunno what to say about these.I like the shots of the old man. there okay. Overall lighting composition and framing looks messy and to me and I'm not really feeling a retro 60s look, more like an artsy porn look. If you wanted a Technicolor look couldn't you just de-saturate this more in post? Production design is extremely cluttered and distracts from anything that would be telling a story. The shot in the last still is extremely flat. Over all it seems like you were trying too hard to make things look a certain way. There is absolutely no subtlety.

Finally I have made a reel. Please tell me what you think :P http://evanlane.com/Reel.html

Okay guys so i finished my second 35-mm shoot! I was amazed after shooting this film stock how little grain there was. I was really happy with the result of this discontinued film stock. I wish they didn't kill it ! Here are some stills from the movie i just shot. I have some of this stuff left. Factory sealed. Please let me know if you would like to take them off my hands :) David thanks for the tips on the lanterns it worked like a charm!

I had 2x 1.2k Hmis a bunch of 650s. 300 inkys 1 4 bank Kino Flo 2x1ks 2x 2ks Thanks spin!

the 24-70 is choice! I love it. I use it most of the time. I have the 50mm 1.8 which is cheap and a nice bang for the buck. those are great to start off wiith. A polarizer is a must for sky line and what not.

This was my first 35mm Gig. I know I have lots to learn :) We shot on a very limited budget with a few amount of lights. I used a Arri BL-3 with super Speeds Mark II. I shot on 5218 and 5205 Compression darkened these a little. Let me know what you think. :) Obviously this works out once it is 1.85 matte

Thanks guys your a wealth of information as always! Evan Lane Director, Cinematographer, Editor http://www.evanlane.com

I use a 24-70 2.8L and a 70-200 2.8L IS Polarizer is a must for mr usually. In photoshop, if I have to I unsharpen mask after I adjust the levels. I just adjust Levels to eye... I usually crunch my blacks and add in the opposite color temperature of what temperature the photo is heavy on. e.g.: it's looking a little too blue in the mids or I want it to be warmer. I will go to the different channels and adjust my colors to be warmer until I feel it is balanced or looks good. Use your gut! Evan Lane Director, Cinematographer, Editor Thank you. I'm just a student I have much room and time to learn and grow :)

Can I use normal 35mm primes for Movie cam compact with s35mm gate?. Thanks for your guys help! Evan Lane Director, Cinematographer, Editor

Your using an uncompressed system to down convert right?

Im shooting S35mm 1.78.1 If I shoot 1.78:1 and enhance a 16x9 squeeze in the telecine for HD 16:9 Televison, for DVD authoring purposes. is there a way to unsqueeze in the editorial process ? I want to master to DVD from HD eventually but for now im going to be offlining on DV cam. Would the best thing to do in the telecine for true 16x9 when authoring a DVD? and can I edit the footage unsqueezed? Evan Lane

Another question then... If I shoot 1.78:1 and enhance a 16x9 squeeze in the telecine fo HD 16:9 Televison for DVD authoring purposes. is there a way to unsqueeze in the editorial process ? i want to master to DVD from HD eventually but for now im going to be offlining on DV cam. Would the best thing to do be to squeeze the footage in the telecine?

20D Thanks a lot man Evan Lane

Hello there, So I'm shooting Super 35mm on the movie cam compact and i am trying to decide the best aspect ratio. I'm going back to Telecine. Some day I might go back to film :). With a video transfer in mind i have 3 choices. 2.35, 1.85 and 1.33 ... 1.33 is out of the question because I want a very cinematic look. It is really a decision between 2.35 and 1.85. Anyone have previous experiences or opinions about 2.35 aspect ratio on S35mm. Any expertise on the subject would be tremendously helpful. Thanks, Evan Lane Director, Cinematographer, Editor.

http://www.evanlane.com Please lemme know what you think!

David Once again you have been a huge help. Thank you sooo much! Evan Lane