Paco Sweetman

That must have been what I was thinking of Jeff. Just goes to show how memories compress with age hahaha.

Thanks for your response Gautam. I remembered (maybe incorrectly) reading somewhere a year ago that Kodak were planning on bringing back some old stocks after seeing the reaction to Ektachrome so I always hoped that Plux-X might be one of them.

I was speaking to a cinematographer friend this morning who has just shot on Double-X 5222, and asked him this question: "With all the resurgence in film over the last decade, (albeit to a lesser degree then in the past) and with noteable use of actual B&W film in films like Oppenheimer and The Lighthouse etc, why has there not been a reissue of Kodak's Plus-X for cinematography?" I remember being in film school years ago and two tutors talking so enthusiastically about it and the images it produced and obviously reading about filmmakers using it for Down by Law, and on films like Raging Bull and Schindlers List. Has anyone asked Kodak? Or is it a simple case of economics? More importantly would that be a stock that cinematographers would like to see back in availability?

I'm selling my two Tobin Cinema Systems Motors, as I've parted ways with my Arri 16s. 1 x TCS - TXM-22 Crystal Sync Motor £325 1 x TCS TXM-23 Variable Speed Motor £225 Or if you want both £500 And I'm also selling the shoulder brace for the Arri 16s. It still works perfectly but is obviously as old as the hills, and some of the edges of the padding have slightly worn away (pictured) £70 Send me a PM if you are interested.

And lastly the 50mm. Any advice from this knowledgeable community I would appreciate. Many thanks.

17.5mm and 25mm

Now a year Later I have a baby on the way, so, these are going onto Ebay this Thursday Night. If you have any idea what you think I should ask for them I would appreciate it very much. They need a clean, but I'd rather leave them to a professional to do that. They were serviced about 5 years ago and used once since then. 9mm and 12.5mm

Hi all, I know this might not be the right place to ask this question. I bought many years ago an Arri 16s and it came with 6 lenses. The lenses are: 9mm - Cooke Kinetal T2 12.5mm - Cooke Kinetal T2 17.5mm - Cooke Kinetal T2 25mm - Schneider-Kreuznach T1.4 37.5mm - Cooke Kinetal T2 50mm - Cooke Kinetal T2 Alas as I bought the kit to shoot my own small 16mm stuff, but now thanks to life changing events figure it's time to move on and sell-up. So my question is: Are these worth anything? I figure they must be pretty obsolete as I see people selling Arri 16s for $100 online. Let me know if you have any ideas. Thanks for reading, and apologies again if this should be in a different section of the website. Paco

Hello all, I have to begin prepping my dissertation in the coming few months. Although I'm not doing an MA in Cinematography, I have been interested in cinematography as soon as I began learning about cineman and the process of making films. With today's advent of Digital, everything from acquisition to post-workflow to distribution, I have pitched my dissertation as an investigation into the processes that cinematographers would use to create aesthetics that would help to tell there stories in new and unique ways, before the world of DI's, Scanning and HD Camera's. My starting points are: The use of flashing celluloid in films (i.e. Vilmos Szigmond: The Long Goodbye & McCabe and Mrs Miller) Kubrick's use of a 0.7 Zeiss lens in Barry Lyndon to shoot using candles. The use of Reversal stocks for features, like Barbara Loden's WANDA & Vincent Gallo's BUFFALO '66. If you guys can think of anything that would be worth looking at, referencing films, processes, techniques etc. then please post here and let me know. I will also be looking at American Cinematographers as well. many thanks Paco

I've got tickets for the screening at the London Film Fesitval 2012. It's showing off a 4k DCP. I'm quite excited. I know it's not a print, but the BFI Southbank take projection of there films seriously so I don't think anyone will be disappointed. That and RYANS DAUGHTER are my favourites of his big screen epics.

I completely agree with your comment. I worked with a Pakistani man about 15 years ago and I turned the conversation to 'The Satanic Verses' by Salman Rushdie. At that time Rushdie was still under a Fatwa and had to fear for his life. The man I worked with said that he should be killed for writing it. When I asked had he read it, he said NO. Ridiculous. The fear is in this instance is that all Muslim's would get painted with this religious zealot brush. For a Muslim, to commit murder in any way shape or form, denies them a chance in the afterlife. Unfortunately, like the David Koreshs and Reverend Jim Jones, you get people who subjugate religion for their own ends. I apologise If I offended you Mr Ebersole, but with many friends that are Muslim, and who don't believe in vicious militant and brutal aggression tactics that are used I always try to stick up for the Muslims that do follow the straight and narrow.

Your talking about the Muslim faith. This isn't a case of 'broadening horizons'. They take the Koran and Islam as seriously as most American's take the Star Spangled Banner and the right to bare arms. The film is total propaganda to provoke a reaction and unfortunately is has done so. And it has done so in countries that are beyond poor, and beyond corrupt, and where the average man and woman follows their religion with the kind of fervor that most Christian churches wishes they could instill amongst there masses. For the record I'm not Muslim and I don't live in a Arab country. And yes, the production values are total shite.

I just saw this. Both of Andrew Dominik's other two films, Chopper and The Assasination of Jesse James had stunning cinematography. I thought this was no different. I think it looks like it was digital though. Anyone got any info??

I think it's sad that the art of film cinematography is going. Where making choices on stock could produce such wonderous differences in the look of films. I know that there is the Alexa, and the various RED's and the Sony's and the Panavision Genesis. But I still don't think that these have the texture of celluloid. Films like The Wrestler, Clerks, Irreverisble, The Hurt Locker, Primer, Vera Drake...and these are only the 16mm films. I could go on about the films of PT Anderson, and Malick and Kubrick, and Polanski...I'm finding that a generic 'look' is slipping into cinema. I know many of you will disagree. But the feeling of celluloid going through the gate of the camera. Putting it in a changing bag and taking it out to be developed. Wondering has something gone wrong with the stock or the camera (as it did in college films sometimes) being amazed when a great DP brings something to life in the image. It's all 1's and 0's now. And I'm not even a cinematographer. Also, Fuji always looked after us in University. And even after we left shooting short films and making music videos.

Thank you Bjorn.