Alejandro Wilkins

Hey Brad! Thanks man, and yes it's been too long. I'm helping a buddy out, he's purchasing a IIC and wants to convert it for hand crank work on the show he's on. Think he's gonna go with the Panavision quote but it's good to know all the options.

Thank you we are also getting a quote from Panavision so it looks like one of these options will work out.

Hi, I'm looking for a company, preferably in the LA area, that will adapt a Hand crank motor to an Arri IIC. Thanks for any leads, I've searched the forum but did not find any similar topics. Alejandro Wilkins

Or around the country, just looking for options. Found a thread with some Canadian houses by the way. "Here in Canada there are Northwest in Vancouver (www.nwfx.com) for Super 8, 16mm and 35mm and Exclusive in Toronto (www.exclusivefilm.net)"

I'm looking for a color Infrared S16mm processing house other than Yale in LA. This thread is a bit old so I was wondering if there were any updates on the info regarding processing. Alejandro

The Da Vinci code is being screened on a 4k projector somewhere in LA, however all the articles I have found don't tell the location of the theatre. I was wondering if anyone on here knew. Thanks, Alejandro

I'm just curious to find out if anyone knows of any film workshops you can take in say, Spain or Argentina, over the summer. Or does anyone have any Idea where I might look into this?

I often wonder, usually while on the road home from yet another non-paying gig, where this detour might be leading me and where I will end up. I think the hardest thing for me pursuing a career as a DP is the uncertainty in my choices. Even worse, it is very hard to tell if you are moving up, down or just sideways. No one has ever past on a solid formula for success. The only solid fact that has been consistent since I began my journey is that no matter how frustrating, financially straining, or depressing things get, I can't see myself pursuing anything else. I guess I can only hope that the many obstacles still to come won't fade my passion. Maybe I'm just not practical.

Would anyone recommend paying for this? I am hesitant to spend money on sites like these but would like to hear about other peoples experience with them before I make a decision.

Well, unless the other cameras are modified for Super 16, which i am assuming their not, the only S16 camera out of the group is the SR3. Also, I think it really depends on what you are going to use the camera for. Are you going to be changing frame rates? Will you need to change the shutter angle at all, which I believe is only offered on SR3. What kind of lens mounts do these cameras have and what kind of lenses will you be using. I'd base my decision on neccesity; whether or not the shoot requires the camera to have certain functions. If you want the most options available to you during shooting, I would go with the SR3. However, These are many questions that the rental house can answer more specifically for you and will help narrow down your decision.

Somehow I missed this film in theatres. I never knew the actual release date. I know this is kind of ridiculous but does anyone know if it may be screening somewhere in LA like second run or more like 5th run?lol or am I out of luck for being able to see it projected on film. I know...I probably will have to wait for the DVD...damn it! <_<

Heres some: - Best in Show, Chasing Amy, Groove, Hamlet (2000), Leaving Las Vegas, Lock, Stock, and Two Smoking Barrels., A mighty wind, Monsoon Wedding, Pi, Prefontaine, Romper Stomper, She's Gotta Have It, She Hate Me, Spun, Thirteen, Waiting For Guffman, Where's Marlowe, Dale Earnheart Story, Never Die Alone I've heard some people talk about their choices for shooting S16mm over 35 and beside the look and budgetary concerns, people liked it because the size of the cameras allow for easier use on location and create a more intimate environment for actors. I wonder if the arri 235 has changed anyones decision recently since it is very small and low profile.

I would...and will!

Hello, I've been researching about the instability of cross processing reversal stock and my question lies below. (but first) Kodak Site on Cross Processing: "The ECN-2 process provides only a surfactant in the final rinse. If stabilization is not provided, the product suffers magenta dye fade in a relatively short time. " The site encourages the creation of an internegative as soon as possible for "Archive Purposes". I am trying to get an idea of just how long I have. I am preparing for a short film and once shot, the neg will have a shelf life of about 4 months before it will be conformed. For budgeting purposes we would rather not have to create an interneg immediately if possible. A "relatively short time" only leaves me puzzled, I can feel another wrinkle forming on my forehead. Any help would be greatly appreciated, Thanks, Alejandro :unsure:

Thank you for the suggestions. I look foward to checking these out. :D