James Baker

Suspiria Rosemary's Baby Peeping Tom The Haunting (the original 1963 version) The Innocents Au Rendezvous de la Mort Joyeuse

Cine Support Equipment, Inc 1027 Brooks Ave, Corvallis, MT 59828-9340, United States (406) 363-0022

This is "subtle" spam. It's floating through the net in various incarnations. Nothing really wrong with the Cebu school, AFAIK, but their promoters are posting these sort of "infomercials" all over the place....

Thanks for the reply. I'm looking for a replacement grip and so I thought I'd ask. It could perhaps be an Aaton that someone modified.....(?)

Hi Craig, I'm curious about how you mounted an Aaton handgrip to the ACL. Does the rosette match up or did you have to do some major modifications? Or is it simply an "Aaton-like" grip? Thanks!

Try here if you are looking for bulk 100' lengths (or 35mm cassette rolls): http://www.freestylephoto.biz/sc_main.php?cat_id=0 Go to b+w film on the right hand menu, then to 100', and then you can see what they have (btw, Arista 400 is supposedly the same as HP5; they also sell some interesting films from Eastern Europe) But not sure what you are wanting to use this for...(?)

IMHO, some really beautiful black and white films: "Damnation" Bela Tarr "Andrei Rublev" Andrei Tarkovsky "I Fidanzati" Ermanno Olmi "Soy Cuba" Mikhail Kalatozov

Hi Jason, These are somewhat loaded questions as film stock preference is very subjective. For the record, I use reversal film exclusively in all sizes (35mm; 120; 4x5) only because it works for me. It scans well on a drum scanner and one has a positive image to check colors accurately, etc. Negative film is much more forgiving with exposure, but you have that orange mask to contend with and proof sheets and/or thumbnail scans might not be very accurate depending on the lab's effort and/or quality. Reversal film is a good film to use to practice exposure techniques and to judge color renditions and contrast from different stock. It's also less expensive to process as you don't need a proof sheet or thumbnail scans to view the image. However, if you plan to scan, then you can make color and contrast adjustments in your editing software and negative film is much more forgiving with shooting technique. You can overexpose to get sufficient density whereas with reversal film you need to be careful to contain highlights. It's just that with negative film you have no accurate original to truly judge color; you will have to make do with what looks good to you at the time of scanning and any post editing (as the colorist does when he/she telecines color negative motion picture film.) One thing you can do, if you do use negative film, is to shoot a frame with a gray card and a second frame with the yellow Kodak box or the green Fuji box. This will help the lab person to adjust the proof sheet to closely match a color they already are familiar with (the common green or yellow film boxes.) I would highly suggest that you experiment only with current stock so that you are able to buy more if you find something you like. Like motion picture film, outdated stock is not a good idea if you are seriously trying to test the characteristics of different films. If you know the film is fresh, at least you have that variable in your workflow addressed. Again, it's very subject and there are different films for different purposes. I like Fuji Astia 100F for neutral colors and moderate contrast, but I use Kodak 100GX when I prefer a bit more warmth. The latest Fuji Provia 400X is a good film for low light and the grain is relatively minimal for a high speed film. Fuji Velvia is a slow film with tight grain but is very saturated particularly in the green spectrum. I find it a bit too "wild" but again it's all subjective and depends on your needs. So, you'll need to try them out and decide yourself. Be careful with pushing reversal film as you can increase grain and contrast. You can research manufacturer's website for their descriptions, but again you need to try them yourself. Here's a "photo geek" discussion board on reversal film that may be helpful: http://photo.net/bboard/q-and-a?topic_id=1...ory=Color+slide

Martin means the lens. Do you have the multi-coated Angenieux T2.1 or the older T2.5? I thought that lens covered S16 only from 40mm on at minimum focus and almost, but not quite, at infinity.....and that's the later T2.1 version. (?) Not sure of the coverage on the older one, but I imagine Martin would be the one who knows. I don't believe either are that great wide open, as David has already mentioned.

Unfortunately you applied too much of a curve. You've compressed your midtones and lost your highlights and shadow detail is now nil. Tweak with a softer hand, as they say. A little goes a long way.

http://defamer.com/342527/axium-the-enron-...-services-world http://www.latimes.com/entertainment/news/...2&cset=true

PS, make sure, of course, that the player also converts PAL to NTSC. Many do (I think all or most?) Mine plays PAL DVDs on NTSC TVs with no problem.

A region free DVD player would be the best idea, really. Plus she would have the benefit of watching more choices of DVD releases (some are far better transfers.) I bought mine a long time ago through this site: http://www.dvdbeaver.com/FILM/hardware.htm Don't be alarmed by their rather "noisy" and confusing website. They are a fantastic source for DVD information and releases, reviews, etc. A true cinéaste's delight. Many places sell region free players. She should have no problem finding one in the NY/NJ area.

The crux of the matter: The most expensive and inefficient (yet highly profitable to shareholders) for profit private insurance-based healthcare system on the planet. Access to the same technology is less expensive outside of the USA. 13 percent of medical costs go to research and development. 51 percent goes to marketing, administration and profits. The private insurance system is rising at the rate of 14 percent per year. Over 20% of the GNP, by any rational economic interpretation, the whole system will be unsustainable. Powerful insurance and health care business lobbies and the fear of "becoming socialists" (although we seem to accept and want Medicare) will prevent any changes.

You'll have no problem finding bibliography (and interesting reads) on this film. There's been quite a bit written on it. Head down to the school library and start searching under La Haine, Mathieu Kassovitz, and banlieue. I know you'll come up with more than you need and some new ideas. I looked at your brief and it appears you have to do both a historical context and media context. Start here: Oxford Journal of French Studies Vol. 61 No. 4 Wasn't La Haine shown at the Tate Modern this summer? Check what Paul Goodwin has written (Goldsmiths)

Don't feel bad Hugo. I have to spend a lot of time each semester getting it through to my students. Here's a good, straightforward resource from our pals at Kodak: http://www.kodak.com/cluster/global/en/con...af9/index.shtml Read it carefully and slowly, remembering the difference between an incident meter measuring light falling on the subject and a reflective meter (which can be a spot meter, too) measuring light reflecting off the subject. Think slowly about those two different kinds of measurement. And, remember too, that all meters will read as medium gray (aka caucasian skin tone) And try this: measure a black board, then a white board, then a medium gray board with a reflective meter. Check the readings. Do it with an incident meter. What's happening? And, as David has already mentioned, forget the Zone System since you will not be manipulating process to adjust contrast. That is a key part of the Zone System --to be able to move zones around with developing. You'll get it. Sometimes it just takes wrapping your head tightly around it.

Jonathan, it might be helpful if you told him why you wouldn't buy one. That could help in his decision making. Mark, you might want to give a call to these folks: Les (in the UK) http://www.lesbosher.co.uk/Eclair%20ACL%20Page.html George and Bob at Electro-Optical House (in Culver City, CA) http://www.OpticalElectroHouse.com/ Bernie at Super 16, Inc (in upstate New York) http://www.Super16Inc.com/ They are some of the best Eclair techs around. The can answer any questions our concerns about the ACL and about your needs If you are dead set on one, I personally would have one of them find you one and overhaul it (which comes with doing a conversion.) Unless you have the complete, documented history of the camera you are buying (i.e., off of eBay), you will need to have the camera serviced. ACLs are a decent choice if you are looking for something small and used primarily handheld. I think that is their forte. The 400' mag makes them a little bit bigger, however. If properly set up and serviced they can give you many years of solid use which may be cheaper then renting something, depending on how much filming you are anticipating Having your own camera and being familiar with it --with its quirks and character, can make things comfortable. Here is a basic resource with some tips: http://members.aol.com/Super16ACL/menu.htm

An incident meter (light falling on the subject) will work better than a reflected meter (light reflecting off the subject.) A spot meter is a reflective meter that simply allows you a narrow angle of measurement. Using a reflective meter, meter off a gray card, then meter off a white card, then meter off a black card . Compare the readings with the understanding that meters read everything as gray. Now you know what you're dealing with. The meter will read snow as gray. You overexpose to get it to white. Then read off a person's face (without any reflecting snow in the frame) and compare the readings. Make your choice from that with the assumption that overexposed white snow might be more acceptable to you than underexposed people. Try using a reflector to boost the EV of the faces so there's less of a range. That can be as simple as somebody holding up a piece of white foam core.

The Autodesk Lustre website is really quite comprehensive including visual tutorials. They will answer all your questions. I found (Autocad) support very quick and responsive.

I stumbled across this yesterday: http://www.locationaudiosimplified.com/BookStore.html

Aztek is the company we dealt with when I was doing high-end scanning work at: http://www.lumiere-imaging.com/homepage.html http://www.aztek.com/ Aztek Inc., in Irvine, CA. They are the distributor for Kami mounting fluids. Very nice people (the father passed on a while ago and the son has taken over.) If you scroll down on the left side of the front page you can download a QT tutorial on wet mounting with the Epson V750. And they are very kind in giving out technical advice to just about anyone who asks. The Epson is fine if you can't afford a Cruse (http://www.crusedigital.com/) or a Mesa flatbed ;) Or, one of Aztek's drum scanners (http://www.aztek.com/premier.html) Aztek took over the Howtek and wrote their own software. Kami is a German company and so you should easily find their products. But Aztek can provide you with technical advice on mounting. Proper scanning is a true skill and with the right software the results can be extraordinary. But keep in mind that all consumer scanners lack the dynamic range and D-Max of professional scanners. Sometimes it's simply better to use a service bureau. In LA, I recommend Studio P and, of course, my former place of employment, Lumiere Editions. In NYC, I would use Philippe Laumont.

There was a thread somewhere here not too long ago. I can't remember the title. Do a search. The gist, I recall, was that some people have a diopter made by an optician that can be inserted in the viewfinder......

I have a 36" Sony CRT HDTV, the last of the CRT sets (no longer available as of this fall '07.) It has a built in tuner but it's not hooked up to any television service. It's hooked up to a Denon DVD player and it's only use is for watching films on DVD. SD DVD, and not HD DVD. An article about HD DVD: http://money.cnn.com/news/newsfeeds/articl...01-21882911.htm "Another factor holding back adoption of a high-def standard is the consumer's love of DVDs. Many are satisfied with the quality of standard-definition digital discs, especially when played in newer DVD players that can "upconvert" the video quality to near high-def. Movie director Michael Bay in early December complained on his official Web site that Microsoft MSFT is providing financial backing for HD DVD because it wants both high-def disc formats to fail. "That is the dirty secret no one is talking about," said Bay, director of the recent hit film "Transformers." "They want confusion in the market until they perfect the digital downloads." Microsoft sells HD movie and TV show downloads to its video game consoles through its Xbox Live Marketplace." When being a consumer becomes too much work, and it all becomes a sea of intentional confusion, then it's time for me to quit consuming. :P HAPPY HOLIDAYS!

HD? What does it really mean? "Hand over your dollars?" It's a free for all. If there was an actual definition/standard then perhaps consumers wouldn't be so befuddled as to what to consume.

Frank Dorritie wrote a handbook on field recorder that's informative from what I can remember. Not sure of the title or if it's still in print. And I think it's probably 4 years out of date in respect to newer solid state recorders, etc.. The Vermont Folklife Center in Middlebury, Vermont has some good resources --maybe check their web site and email them for suggestions. The UC Press also publishes the Oral History Review which sometimes includes articles on technique, etc.. There are lots of web sites, good and bad. Rudy Trubitt and f7sound.com, etc..