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)"

Calumet is located very close to the Kodak in Hollywood CA (6700 Santa Monica Blvd). Kodak's Alan Masson there (323-468-1517) has information about labs in the Los Angeles area who offer a processing service for these films. Feel free to call or drop by to discuss.

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?

...film education has often turned out to be little more than an expensive detour on the road to doing something else.

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.

www.crewnet.com

<{POST_SNAPBACK}>

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

Hello,

I will be shooting a DV short that is set entirely in a hotel room. I am trying to find examples of movies shot on DV that spend a significant amount of time in a hotel room.

So far I know of "Tape" and I will be watching that right after I finish this post.

Thanks for your help

The folk's at Panavision,HW told me that there is no manual for the camera.

However, I found this book on Amazon though I haven't actually read it. It may give you a good overview of the panaflex system, but not specifically the elaine.

Check it out:

Panaflex User's manual :lol:

I looked up that Australia has a 50Hz frequency which makes sense for the different shutter angle.

But America is 60hz so I don't understand why the A-Minima I used here had a 172.8 Shutter as well. :blink:

Well, going back to Griffin and Lachman's replacement,

The article says that filming resumed on August 18th. I'm not sure when the firings took place but it doesn't seem like there was a lot of time between them and the 18th (Article came out the 10th). Does anyone have any comments on replacing a DP in mid production? I'm just wondering if anyone has experienced this, how your role changed and whether or not you felt you lost a lot of creative control, since, like in this case, there doesn't seem to be any prep time, or in other cases, another DP has already set the "look" of the film.

I recently read the ASC article on Collateral. Dion Beebe, ACS talked about taking over as DP mid-shoot. He said he normally wouldn't want to do this because he doesn't want to have to stay within the boundaries of another cinematographer's vision rather than implementing his own.

The workshops in Maine offers 1-Week, 2-week, 4-week intensive courses in cinematography taught by working proffessionals. I took a feature film lighting class there with Jim Planette and had a great time. This year Michael Chapman is heading the DP Master Class. Here is the link:

International Film and Television Workshops

...how exactly is it possible for people to get to the stage of shooting 35mm without actually having bothered to plan what you're going to do with it? Sorry, do you actually have even the tiniest experience of filmmaking, at all? I don't, at that level, and even I'd have thought "Hmm, 16mm and 35mm, that's going to be either optical or DI." I mean, how do you even get funded to do this without showing that you've thought it through? Jeez...

Well Phil,

I do not consider myself a master of cinematography and if there is some level of expertise required in order to be able to post in this forum I do not know about it. I am a student, and therefore, my knowledge of the subject is ever expanding with a great thanks to the many cinematographers who post in these forums. I did not feel that it would be necessary for me to write in detail the extent of my pre-production, however, I can assure you that I took a lot of precaution before shooting, as this is my first, yes my first time shooting in the 35mm format. And to top that, the first experience with having to mate both 16 and 35 formats. Now, would I even know what the difference of 35mm and S-16mm film is if I did not have the "tiniest experience of filmmaking at all?" It?s too bad that my inquiry was not up to par with your standards for this site, but I?m sure that there are many other topics posted that may peak your interests.

Anyway, I needed to make sure that I covered all the bases before locking myself into a post process. I did do this before production, but the option of going to a DI became more prevalent to me after shooting. I know that you can achieve a print either optically or by DI, however, it is "obvious" from the other postings that through these two channels there are various ways to get to a print. I had planned to do the film optically, however, I overlooked the fact that the Super-16 footage would have to go through two generations. What is the problem? None, it was planned that way, and seeing that I was going for a visual separation of the two, having the 16 being really degraded would be something I was willing to deal with. Later, I began to find out more information about DI?s. At the time of production I thought it was way out my budget range. It wasn?t until CineGear that it seemed, to me, possible. And I am now gathering all the info I can to make sure I know every option, hence, my question above.

Phil, you can rest assured that I was not funded for this project. I would not be in this situation had I been dealing with other people's money. If that were the case I would do my best to stick with what I know.

I just feel that your posting was incredibly unproductive, and though you had every right to post it, why even bother? To make me look inferior? or stupid? Well, this posting is very similar to the many situations I have had along my pre-production way. There are many people who will be extremely willing to help make sure there is an understanding of the many processes and protocols and welcome the many questions of a young cinematographer, and then there are those few that are immediately offended by something as small as asking a question. I guess you have to be prepared to take the bad with the good. I know that my inexperience shines brightly by my question, however, I do feel a lot more confident in talking to a post house about my project now and in making sure that I do not overlook anything else.

So, thank you Mr. Mullen and Mr. Gross, and I hope I have not bothered too many members with my question.

doing a 2K digital intermediate for the 16mm footage by scanning the negative and then recording out a 35mm internegative means that there is not much generational loss.

The film is a 20 min short and about 4 mins are 35mm. Sorry for not stating that before.

After reading the information it seems like having the 16 neg scanned and then output to 35 would lower costs and keep the 35 from any degrading. I think the reason I had it in my head to scan both 35 and 16 portions had more to do with being able to have an HD master for the creation of DVD's.

A little while ago I posted about shooting a film using both 35mm and Super 16 formats. The purpose was that 1, I wanted to create a visual seperation between two points in the story and 2, the 35 stock was donated to the production. Well, it has since been shot and I am now trying to decide on the best way to marry the two formats. Unfortunately I overlooked some of the optical steps needed for this process during pre-production and am now trying to figure out if going to a DI is cheaper. I am looking into transfer to D-5, I think a 2k will be too expensive. Anyone have any suggestions or opinions?

thanks!

A director I work with uses that shot at least once in ever film he makes. He has dubbed it...the "WARPO-Cam". This is probably not what the shot usually goes by, but I will always remember it as such.

Anyway, I am really interested in finding out if there are certain accessories that will compensate focus and zoom automatically while moving because I have burned a lot of film and pulled a lot of hair getting those just right.

:lol:

I was at the ASC open house and some of the DP's I spoke with told me that apprenticeships aren't really in the industry structure anymore and that a good way to work your way up and get the knowledge you need is to start at a rental house. You'll get to know the equipment and make connections to AC's and DP's. Then begin moving on up. What's scariest to me about this whole route is that you may get stuck in one position and not move for a very long time. Why would anyone want to lose a good AC for an inexperienced DP? I dunno, I'll be graduating this semester and am trying to find my own ways in. No matter what, while trying to work my way up I plan to keep photographing student, indy and spec projects so that I will still be practicing my craft as a DP. Good Luck!

Alejandro