Tom Jensen

Has anyone gone here. I have a friend that teaches a production class there. http://www.nyfa.edu/ Also, if you are looking to edit, I think Avid may still have a school in North Hollywood.

There's a good reason for that. It's because they are Canons and not Cooks.:blink: OK, let me start over. For 16, I prefer the Canons over the Zeiss. Thank you.

I prefer the Cooks over the Zeiss. 16MM ZOOM LENSES 7-63mm T2.6 8-64mm T2.4 SUPER 16 ZOOM LENSES 11.5-138mm T2.4 11-165mm T3.1

My first film industry job was at Armistead's around 85. Dick Pierson was the manager and Jerry, Bob DeRose was the electronics guy, Ken Stone did the Cameras, Bob Payne did the BL's and Mags, Dave Swett did the heads and I was a driver that did the heads when Dave moved over to Otto Nemenz. I followed shortly after to Otto's Armisteads daughter was the owner, From what I understand, John and Mark were good friends, After WWII the military needed to unload its inventory, Armistead went to an auction in San DIego. Ford told him to "bid on that pile" and he went back to LA and opened for business. They never kept up with the times, We had the cameras on Fame and I remember seeing a mag case with "Lost In Space." At that time Otto was servicing the low budget film and music video boon, Clairmont had TV and Film and Panavision had everything but 16 for aii intents and purposes. Armistead just couldn't keep up and they eventually closed its doors. They had few BL's BNCR's and a few Fries, O'Connor 100's and a few Wprrel Heads. I think Hill Production Services bought everything from them and they have since shut their doors.

500 for interiors/concert footage/night exteriors and other low light situations, 100D for daylight. should be good.

I always used a little blue Locktite to keep them from backing out. You can also dab some model airplane paint over the holes.

BL's are so cheap to rent or buy right now. Why use anything but.?

If you take off the ring there are are little holes that that grub screws fit into, If they don't line up, the lens should be adjusted,

Rain gear

Otto Nemenz or Clairmont in LA. Not sure if anyone in SF still does BL work. Maybe Camtec.

I would suggest staying away from effects laden films if you or just starting out. Lighting is what you want to learn first. IF you want to get into effects by all means have at it. CGI just won't help you learn photography. One of my favorite movies to watch for lighting and cinematography is The Crossing Guard that Vilmos Zsigmond shot. This was a very low budget movie shot by a master. He had to light in the simplest possible manner to get this film made. You can see he had to use his wits and experience to light fast with minimal manpower.

A lot of people can do this but where are you located?

I think that 1.33:1 has lost its appeal and the industry prefers a wider screen as the accepted format. It looks better to most people.

Which one works best for you? That's the one.

I always liked Fotokem for 16 and though they were reasonable and professional.

A lot of what James said is true. Product driven product placement is prevalent. There seems to be an abundance of movies over 100 million dollars and fewer in the 10-20 and even less around 7 than there once were. I liked star driven movies with Roger Moore, Sean Connery, Robert Redford, Robert DeNiro, Al Pacino, Dustin Hoffman and now I see Ben Stiller, Seth Rogan, and not Matt Damon, the other guy, what's his name. I see such far fetched computer generated stunt action that almost looks cartoonish.

I don't know all that much about digital capture but I imagine a set of primes and a 10:1 zoom at a minimum.

That sounds like a decent deal for all those extras.

Have you chosen a format/camera? That would help.

Now you see why I suggested penciling.

I had the strangest thing happen once. A friend of mine invited me to lunch in Santa Monica. So we have lunch and a few beers. Then we stop by a production company which just happens to be around the corner. My friend said to come in with him, so I go in not knowing what's in store. Long story short my buddy grabs the producer by the neck and says he's not **(obscenity removed)** around and he better write the check or he was going to get the worse ass kicking of his life. I'm beside myself and pretty much in shock. The producer writes him a check and we leave. On the way out my friends says, "This better not bounce and to call me if you need an operator." The check cleared and the police were never involved. I do not recommend this but it worked.

I've used a darkroom once or twice.

No, how are you going to see anything? :blink:

Flag it off.

Jerome, have you ever done this shot?