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Mike Tounian

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  1. Sorry to bump and hijack this thread, especially when you started it about another image, David, but does anyone know what happened to Morgan Camera? The fact that it sits there, still stocked, is bizarrely fascinating to me, and I can't find any information about it via google searches. Would love to know what the deal with it is...
  2. You should contact Kodak here in Hollywood, not long ago they dumped a ton of 35mm 100T on a USC student project because no one was going to use it. They may still have some 16mm 100T left in the vaults that may be near or at expiration level?
  3. A director like PTA doesn't frame for good at all, he'll use the tools at his disposal that he feels are best to tell the story. 65mm was right for The Master, and although he does usually stick with true anamorphic 35mm, who knows, maybe this one calls for 1.85... I guess we'll find out...
  4. Hi Friends, This forum has always been quick and great with responses so I figured I would get some more input regarding labs. We're looking to shoot a feature exclusively in Detroit, and apparently MI has no lab left. I imagine there are a few factors involved in the choice of a lab, like quality, price, distance, etc. and I would love to hear everyone's feelings or experiences with all of them. We want to shoot 16mm, but don't want to close the door on 35mm so a lab that does both would be ideal. There is at least one in Toronto, which seems to be the closest, but that crosses a bo
  5. With the news that Star Wars is shooting in the UK now, who will be processing that? Is that what Technicolor or Deluxe is staying open for long enough to finish?
  6. I saw your other post while combing through the archives. If you look at the photos of the box from ebay, you can clearly see that it says "ECN" on the box cover, not ECN-2. In support of that, if you look at the wiki entry for Kodak Motion stocks, 52/7291 is listed as an Eastman Negative stock, which is ECN process. When they moved to EXR in 89, they changed to ECN-2. But we all know how inaccurate a wiki page can be, so I can't say that is 100% certain. We need someone who works for a lab to chime in. Actually, I'm going to Fotokem tomorrow, I can talk to Walt Rose about it and see what he
  7. I'm not sure that you can snip test (or process) that negative anywhere, it is the old ECN process that hasn't been used since the late 80's. ECN-2 is, from what I have been told, a totally different process and not compatible with ECN.
  8. Hi All, I'm putting together a budget for a feature we want to shoot on 5219/13 and in the middle of nowhere Oregon, and it may only be feasible/cost effective to get negative back to Fotokem once a week. I know the prevailing notion would be to get it in the soup ASAP, but how long can exposed negative be stored without a shift or any other issues? Could we get away with sending a runner to SoCal only once a week? And what sort of storage conditions should we use? Precise refrigeration temperatures? Thanks everyone! MT
  9. Thanks all for the information. I suppose this is not surprising. Stephen, since you mentioned a "workflow" of sorts to get this accomplished, I would like to ask what is the safest way for the negative, and the most economical way, to get film to London for processing? How do courier services work in the UK? I'm in the states and have never even been to the UK, so I literally have no idea how this would all be done. We are looking at locations in both Dublin and Belfast and I am determined to shoot this film on 35mm. Thanks again to all for your advice!
  10. I sort of doubt it, as I have been googling the crap out of this, but I can't come up with anything. Trying to write a budget for a feature that we'd like to shoot in Ireland on 35mm, but it is starting to look problematic in the least. Anyone from the UK have recommendations? Is it safe or even possible to get negative to a lab in London from Dublin, or Belfast? Thanks lads!
  11. Lorette Bayle at Kodak told me that 5230 was intended to be the Vision3 successor to 5260, but they ended up using characteristics from Vision2 as well to allow for a lower price point. I shot tests with it and compared to 5219 and I felt that it gave African American skin tones a slight bit of green. I feel like I see the exact same thing again in the 35mm tests that James posted above. I actually liked the slight increase in grain for this stock, but ultimately since our lead was African American we stuck with the 19. Killing Them Softly was beautifully shot. Knowing now that it was
  12. Glad to hear that, as my rep at Technicolor Hollywood told me they were done with film in the states.
  13. It all depends on the type of film you are making and the difficulties involved. From what I've been told, the average studio feature plans for a 8:1 ratio but they usually end up higher. My thesis at USC had a 12:1 ratio, and that was on 3-perf, but we had blank firing machine guns, choreography with a swing band armed to the teeth, moving vehicles, etc. so we had to do that. If you end up making an easier narrative that is mostly just people "talking or doing poop" you can probably get away with 5:1, but I'd go 6:1 to be safe.
  14. Try the Kodak lab finder portion of their site for info: http://www.motion.kodak.com/motion/Support/Laboratories_Directory/index.htm ColorLab NYC and Image Quilt may be the last. Kodak says both Deluxe and Technicolor still process 16mm but I find that hard to believe...
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