Colum O Dwyer

The Tamron is a handy lens, used it once, quarter turn gives you macro - inf, cramped focus but nice with a loose, handheld aesthetic. 50mm/85mm are both long lenses on the 60D with the crop factor, so only so useful version a fast zoom

I think Canon have surprised everyone for the wrong reasons. The C300 would be the DeLorean of the HD camera world. If it wasnt for the Scarlet coming with an EF mount as standard you could suppose 5D/7D users would migrate, but it seems the only thing that would make that happen now is Scarlet back-orders and RED-hate. Mind you, it's footage isn't without merit: Mine would be too if it wasn't for the snails-pace at which Canon came to the video world. Putting a 5D sensor into an XL body (over simplifying of course) shouldve been a no-brainer 2 years ago.

How soon until Canon 'adjust' their pricing after the Scarlet announcement? Hmmm.

This is a great topic and something I've been wondering for quite a while! Thanks lads

I'm coming to this late in the game, but whatever. I found getting in contact with the lab on the phone was really very hard, I'd phone be told who I was looking for was busy and that I'd get a call when they had a minute - I never got a call back. This happened quite a few times when I was trying to establish whether my stuff (10 cans S16 only) was ready for collection. Very frustrating. Having said that when I travelled over to drop the film off (from Ireland, getting a ferry over is the most cost effective way to transport the film I found) the lads in the office and the actual lab techs were great guys, had a few great chats with them. Which makes it such a pity that my problems communicating with the lab soured me so much.

Thanks lads.

(This sort of thing has probably been discussed before, but for the life of me I can't find a topic) Hey. I'm due to crew a show shortly that is being produced by a New York based company and being shot here in Ireland. It's a TV cookery show. I'm ass cam. Just wondering what a ballpark figure for A.C's in the New York area would be, or in other words what such a company would be used to paying. I'm just curious, I've already sent my rate on & it's my 1st time crewing something that isn't homegrown. Thanks.

Those shirts are great! While obviously a work of fiction, I'm sure when your college fees are so astronomical, buying a (used?) Red & some Nikon glass is probably not too much of a stretch for many American film students, right?

I really do think that I need to explain to the director (whose idea the BB initially was) the unpredictable nature of the process, even as a way of putting the case for money for (proper) testing - as well as seeing what can be done in post. Dominic, thank you for such a concise explanation. & thanks to all for your helpful advice.

Part of me would certainly prefer to take the extra money from the BB (0.04p per foot) & use it in drip or lighting gear. Part of me says that because of the strange weather we tend to have here in Ireland the post route might be best to try to match scenes (Sun splitting the stones in the morning & overcast weather in the afternoon are far too common) & would also just give the wiggle room necessary. Sad thing is that by in terms of budgets for Irish shorts & esp. student films, the budget is huge - But still not big enough to do the necessary tests. Wasnt sure about the 50% BB, kinda what the tests were for. If, and it's a big if now we were going to go ahead with the BB, I'd probably end up going with the skip. That's very interesting about the processing - makes sense looking at the dodgy frame. Thanks again.

At the moment looks like it's the best I can do, don't think the production will pay for any 16 tests, regardless of whether I advice it or not. I had a look at it, and I reckon the results make sense. Karl, any idea what happened in mess-ed up picture, processing-wise? Thanks guys.

Can do, couldnt do any harm. Maybe everyone could bombard their respective reps, agents & resellers with those links?

We're planning on using Bleach Bypass this summer on a S16 shoot so I wanted to do a cheap & easy 35mm still test. Shot on 35mm Fuji Superia400, got a friend to process it & went for 50% bypass - But something went wrong & as such I'm sure whether to trust the results of the frames that seem unharmed. So I ask you chaps, do the 2 attached pictures marked as 'Good' seem correct for 50% BB? I had a look at the oft referred to article from American Cinematographer & I think it's all cool. In any case I'm going do more testing obviously and hopefully test it on 16mm too (8683 or 7229). Attached also are two of the damaged pics from the end of the roll (any idea what happened?) Thanks alot. - Colum.

Thanks for the replies guys! 80ASA 7231, overhead fluorescent, mostly shielded by the mag door - So maybe not so bad. I should explain, in the event of reshoots being needed I'm sure the director (who is also the producer & financier) would prefer being able to use that roll as opposed to buying another - even if it is only €55 with a student discount. I already suggested getting a clip test done (as John suggested), but not sure they heard what I was saying. No, no - Told everyone that needed to know, marked & set it aside. Hope that'll never happen, thats surely grounds for a career (or name) change... or at least a few stuff drinks.

Had my first accident last week on a college grad shoot when, in a tired state I accidentally opened & exposed a mag that I had just loaded with a roll of 7231. Very embarrassing but everything worked out OK. I'm just curious, if we were to get that roll developed - would it be just the edge of the frame that was flashed? Or would the whole frame be fogged? (I searched for a similar tread but found none, in-spite of the fact I'm sure this has been mentioned & asked before)

I never did that, which is surely something that should've occurred to me. May be time to big the thing out from the depths of whatever cupboards it's in - Thanks. Any sort of lubricant in particular?

In a word, no - I'd be asking our local Fuji guy in Dublin and I doubt they're privy to much info - although very helpful & decent. I'm sure there's plenty of lads on here who have a decent relationship with Fuji UK who could find out such things. Hurt Locker should have given them a boost for sure, but I doubt they're gonna eat into Kodaks share - Slumdog didn't seem to give them a great boost.

Re: special order of Neopan CN/Acros in 16mm. "Hello 
Yes you are correct, the factory would need an order for a few million feet before they would run the production, also I think the processing would also be a problem.
However you could use Vivid 160 or 500 as its a high contrast stock, then desaturate the colour and you end up with a great B&W image, the NFTS did some tests recently and the results we stunning, I suggest you try this stock.
" - Colin Ricardo Business Manager Motion Picture Products Fujifilm UK Ltd That's a disappointment, I was under the impression it would be something like 10K feet.

As I understand from speaking to our fuji rep and from what I've gathered on here, if you out in an order for enough stock, they'd cut it for you. (I've just sent an e-mail off to Fuji UK enquiring actually) Acros or the 400 would just be great. All this news makes me feel extra bad & wasteful after accidently flashing a roll of 7231 last week :( Also, the 7231 is the only B+W stock that they produce for the Aaton Minima, Hmm...

That's one of my dreams, to shot 16mm on Neopan. They should be doing it already, it's not like they aren't producing sheets of the stuff.

That's very interesting - I had pretty much the exact same problem (trigger did nothing etc.) and even after having a look around in the guts of the thing I came up with nothing. Pity the project it was bought for was a few months ago.

Hey. Certainly no labs over here and be sure to phone ahead to make sure they have the stock for you, I recently waited two months for some stock to arrive from Japan [Admittedly, it was a small order and was looking for daylight spools, but still]. I think the handiest thing is to go through Kodak UK and they'll put you in touch with their reps in Ireland. Stephan alluded to some post houses, two of them are Egg and Windmilllane For film cameras: Production Depot

Really? Cool. Thanks. Thanks Karl, I may have under-exposed a tad, but it's all good. Thanks.

Would you know where that place in London is maybe? I'd love to shoot off Kodachrome if possible w/out having to ship it to the US. When I've shot Ektachrome I've used a light meter or my film SLR to give a rough estimate - As my Braun Nizo won't read 64 carts. If you use an SLR set to ISO 64 [& 1/50sec] and take a reading and then take a reading of the same frame using your cameras light meter, you'll have a good idea whether the cartridge is being read as 40 or 160.