Elliot Loewenstein

Yes, that is what I mean. Thanks for the advice. Sorry for the lack of all pertinent info.

I want to achieve the classic effect of moving the background in or out while keeping subject relatively normal, by dollying out and zooming in or vice versa. Problem is, the room gives me about 15 feet to work with. Will my want be possible or should I scrap the attempt? Thanks.

Does anyone know where to find a depth of field chart for this lens? I'll be shooting a subject at approximately 2 feet and another at 4 feet and i want to throw the subject at 2 feet out of focus. T-stop will probably be a 2.8 or 4.0. Thanks.

A photograph can be wonderful, beautiful, arresting, etc. But it can never touch the magnificence of a masterful painting. Cinematography (forgetting museum-quality crap) is one of the more significant elements of the highest medium of the modern age. As a singular medium, however, all bow down to music. All of the above in a purely artistic sense. A photograph gains prominence when it enters the consciousness of the masses. Emmett Till, for example, and history is stamped and shaped by an image.

The answer seems obvious, now that you've both said it. Thanks.

Shooting soon (handheld) on the subway and want to create the effect of a jolt in the motion of the car. So people obviously move as if there has been a sudden, abrupt change in speed. What I'm wondering is, for the best effect, does the camera stay planted or does it jolt, too, when the actors do, as if effected by the supposed action of the subway. Thanks.

Found! Alan Gordon Enterprises on Melrose in L.A. Thanks to all for your suggestions.

Actually, it takes special, metal cartridges that are rectangular in shape (like the body of the camera) with said encasement screwed together such that the film is totally inaccessible - until it gets to the lab and they take it apart.

Does anyone know where to purchase film for a 1930's CineKodak 16mm camera? The one I have looks like the one pictured in the link below... http://www.cinekodak.org/CinekodakMag1.jpg Sorry to take up space here for an issue that is more than likely pertinent to no one other than myself. Thanks.

Thanks a lot, John. Checked out the helpful site. Does the info. also apply to daylight spools? Are they considered "factory sealed" and impervious to moisture, as well?

I have been advised that film kept around for under three months is safe in the refrigerator, and for longer durations of time, it should be kept in the freezer. Having already put some film in the freezer, I'm now concerned that such an extremely low temperature might harm the film by making it more brittle. Is this concern legitimate? Naturally, I don't want the film to snap in the camera, or even worse, in the processor. Any expert advice is greatly appreciated. Thanks, Elliot Loewenstein

Thank you Atavist, Jonathan Edwards and John Pytlak. I will wait the week, worry less, keep the mags in a dark box, and move the film slowly at first. Anyone have an opinion on whether it is better to put film back into the refrigerator, from where it was removed for shooting but ended up not being used, or is the continual change in temperature and threat of condensation equal or worse to the decomposition of the rawstock kept in a less cool environment? This for film in cans and the plastic boxes of daylight spools.

Thank you in advance to all who can offer guidance. I am in the Virgin Islands and making a short film, largely on my own and using my own money. I understand that film chemically breaks down the longer it is out of the factory, and even faster after it has been exposed. However, because my funds and resources are very limited, I am inclined to shoot over the course of two weeks before sending the film into the lab. I generally shoot once a week, on the weekend, and may only shoot 150 feet during that time. Hence, the cost of shipping, minimum cost to process, and the rate at which I go through cans, bags, and cores (not readily available here and everything is expensive to ship in), adds up. If I could shoot on a weekend, leave what's left of the 400 foot roll in the mag., and shoot again on the same roll the next weekend, as well, it would make things much easier on me. My question is, basically, can I let my exposed film sit for a week and a few days at air-conditioned room temperature (roughly 70 degrees), without worrying about how much I am damaging the image? Again, thank you for taking the time to help. Elliot Loewenstein