Brian Rose

I've read a little about how to shoot deep focus photography, but I was wondering if anyone has done it, and knows what the process is? I gather that excessive light is a must, to allow for tight aperture (f22 I believe) and increased depth of field, but is there anything else? Any film stocks well suited for DF? What about lenses? Does it only work with wide-angle primes, or could it be done with telephotos or zooms? I'd greatly appreciate any tips on recreating this wonderful (and sadly neglected) technique! Best, Brian Rose

All, Here's a question I thought I might put forth, as a break from all the serious discussion, and as an opportunity for us all to express our deepest filmic fantasies. The question is: if you had unlimted money and resources, and could even invent new technology, what film project would you embark upon? I'll start. I would adapt Dante's "Divine Comedy" as three epic films, and shoot it on (my dream, however illogical) 70mm three strip technicolor (with IB release prints, of course). Either that or do my own version of Pearl Harbor, only no BS love triangle, and a strict adherance to historical accuracy. Take that Michael Bay! Now let's here what you all have to say! Best, Brian Rose

I noticed that the 50D stock is no longer listed on Kodak's website. I had heard something a while back about 50D and the other films being replaced by the new Vision series, but I have not seen 50D Vision yet either. Does anyone know anything about this? I loved the color and saturation of that film, and I'd hate to think I'd be losing it! Best, BR

All, I am planning on attending film school as a grad to get my MFA, and its down to two schools: FSU and Carbondale. I've already been accepted to the latter, and I've been told that I have an excellent shot at a fellowship-essentially I would be getting paid to go to Carbondale. I'm still waiting on FSU. I think I've got a decent chance of getting in, but I doubt I'll get much aid past an assistantship (which is still pretty good). They are both great schools, but (let's face it) FSU is quite simply better equipped, and more prestigious. Basically, if it were up to you all, would you go for a school that was paying for everything, or for a school that has more bells and whistles, but one that will cost...? Best, BR

Sir, Actually I do have a matte box, but I'm rather ignorant about the 3x3 and 4x4 inserts for them. I was under the impression that they were more expensive than 72mm screw in types. Am I wrong? How do I store filter inserts? What I mean is, the round types always seem to come with a protective case. Thanks, BR

All, Sometime ago, I read a thread about a fellow who wanted to, using colour film, expose it successively through red, blue and green filters, to achieve an affect whereby stationary objects would be full colour, but moving objects (such as a stream of water) would be appear as bursts of pure colour. Well, I was fascinated by it, and, wanting to try it myself, I went looking for it, since I remember there being a few tricks to getting it right (namely which filters to use). However, I cannot find the original thread! So, would anyone be able to describe the process to me (or link me to the original thread)? Thanks! Best, BR

All, I'm looking at putting together a nice filter kit for my 16mm. I have an Eclair NPR, with a 12-120 angeniuex that takes 72mm screw in filters. I already have a basic UV, and a circular polarizer, and I gather that I ought to have some colour filters for BW stocks, NDs and fogs, etc. Which filters would you recommend? Which ones would you think cover most sitations possible? Best, Brian Rose

My apologies, but I'm not all that experienced in compression for web streaming. Is it possible to stream a 98 minute film? Best, BR

All, I have just completed a rough cut of my first feature length film. Now, I'm looking for anyone interested in viewing it and giving suggestions. Well, more accurately, people willing to tear it apart. A few friends have watched it, but I dont' think I'm getting an honest opinion from them. So, if anyone would be interested, message me! Reply quickly, however, since I am limited in my capacity to produce dvds, so I can only accept the first three or four offers. Thanks! Best, Brian Rose

Hello All, I've been working with super8 and 16mm formats for some time, gaining experience in cinematography, and with various stocks. Now, I am interested in trying some sound stuff. Eventually, I'd like to put togetehr a nice sync sound package for documentaries. I currently have an Eclair NPR with a Haflexx crystal sync motor, but I don't know squat about sound. Could any of you recommend good beginner's equipment that I could gain expereicne with. I've heard of nagra recorders, but I don't know more than that. If it helps, I have my footage telecined to dv for nonlinear editing, so it is easy for me to sync sound. My issue is, I don't know much about recording it. Thanks! Best, Brian R.

All, I just finished shooting a feature film, my first, and I am currently in the process of editing together a rough cut. I have a problem however, that I am sure a lot of you have dealt with. Frankly, I'm afraid of not being objective. Of course, I THINK everything I do is great, and looks great, but I know that isn't true. Do any of you have any tips for distancing myself from my work, so I can be more critical of it, and hopefully, produce a better final cut? Thanks, BR

I HIGHLY recommend Cinelab, out of Fall River, Mass (www.cinelab.com). I typically get a one light, or best light transfer, and yet, the results are always fantastic. I got my latest shipment back a few weeks ago, and there was not a spot of grain! And, their prices are reasonable. They currently have a deal where you can get processing, prep and best light transfer for .28 cents a foot (74 dollar minimum). But, I'm sure you could get an even better deal depending on the size and nature of the project. That's my two cents. Best, BR

That is where I am fortunate. I did not unwind the film. I merely transferred it from the mag to the black bag and into the can. Further, I shot it on regular sixteen, so I'm not dependent on the edge area as much. So, I should think I can crop any edge fog without too much loss of clarity. But we'll see... Best, BR

All, I recently shot a core load of exr 50d. Today, I transferred it from my magazine to the can, in a darkroom. Now, I haven't really any darkroom experience since I'm used to just using daylight spools. What happened was, I changed the film in total darkness, yet, after everything was said and done, I looked up and noticed the red safelight was on. I know Kodak says handle exr 50d under total darkness, so will this do anything to my film? The safelight, though it was on, was so muted that I did not even notice (the room was still pitch black) until I looked up and saw the red light. I estimate the film was exposed for perhaps a minute. Is it ruined? Best, BR

Thank goodness, your tips are so reassuring! When I realized the core had dropped out, I was about to send my fist through the wall! Best, BR

Well, it happened. I was transferring a 400ft core load to the can for processing, and the f*#king core dropped out. Fortunately the film stayed together, but I couldn't get the core back in. So, I trimmed a little bit of the leader (it had been exposed anyways when I loaded the camera), so it could fit back in. Now, however, the core sits loose within it. Is there any salvation? This film is VERY important (its for a demo as part of my film school ap), and I would pull my hair out if I lost it. Could I tranfer the film to four 100foot cores? Best, BR

All, I recently viewed Dziga Vertov's The Man with the Movie Camera, and I was wondering if any of you out there could tell me what make/model of camera the cameraman uses in it. Frankly, I love that little handcranked job. Wish I could find one! Best, BR

All, I been shooting 16 for a while, but with 100 foot daylight rolls. However, since I'm going to be out in teh field with my new sixteen (an eclair npr), I'm planning to shoot with a 400 load, for ease and convenience. To reign myself in, I've limited myself to one roll so I don't have to worry about changing loads in the field. That said, I'm still wondering if there are any tips, or warnings you all could offer when handling 400ft core loads. I mean, I know to load/unload them in total dark, but that's about it. What about the danger of core drop out? I'd love to hear any tips! Thanks, Best, BR

I'm going to be shooting some color super 8 at a cross country meet this saturday, and I'm not sure what to use, since I've only shot BW before. I'd like to try some color neg. What do you all think of Vis2 200T, in terms of grain structure, reproduction and saturation? I know kodachrome is being discontinued, but does Kodak still have film in stock? Best, BR

Thank you very much for your help. Perhaps I can explain why I was comparing 50D to 64. I am doing some filming this weekend at a cross country meet, and I wanted to use the slowest film possible. I've shot 50D before and positively loved it. However, my processor (Cinelab out of MA), is offering a package deal where I can get 400ft of Fuji stock, process and best-light telecine, for $180.00. Hence, I was curious if there was a great enough difference between 50D and 64 (which I've never used) to warrant my avoiding this deal and sticking with Kodak. Best, BR

How does fuju 16mm compare to kodak 16mm? More specifically, Exr 50d, versus Fuji's 64? Best, BR

All, is it true that Walmart still accepts super 8mm for processing? Is it still under 5.00? Do they accept any film? Is there something special I need to do to get them to take my super 8? Thanks, Brian

I realize that. Unfortunately, I cannot do dye transfer printing. But, I believe that if I color the ycm separations properly, and since I would be transferring the footage to dvd, I can preserve much of the original color, and come quite close to it. best, br

Another question: I don't have after effects, so I'm not familiar with it, but is it intended as a post-production tool? Could I import my footage into after effects, create my rgb composites, then export it to premiere for editing? Best, BR

I wasn't quite sure where to post this, but I figured you all would have the best knowledge on this subject. Okay, I'm looking at shooting an animated short, and being a big technicolor afficionado, I realized that I could shoot my film in black and white using the successive exposure technique used by Disney in the 30s, 40s and 50s. Thus, I can do true technicolor (save for the imbibition printing). Now, I know how to tint my film in post (I use adobe premiere pro 1.5) to recreate YCM separations, but I'm at a lost for how to combine the three to form the full color image. I'd love to hear any tips! Thanks a lot! Best, Brian Rose.