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About GeorgeSelinsky

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  1. Thanks to Dave, Tyler, and Satsuki for the wonderful replies, and sorry for the delayed gratitude! Dave I'm glad to see you're still a major motive force on this awesome website! You've all given me a lot to think about so I'm going to be shooting some tests and will see how things go.
  2. Greetings to all, It's been a number of years since I've visited this forum, and it's been about that long since I've been directly involved in film production... I've had a bit of a Rip Van Winkle experience. Back when I was shooting, HD cameras were still in the five figure range and 35mm was still the workhorse, most theaters showed film prints. Just the other day I acquired a Nikon D3300 DSLR from Best Buy. Today I tested it in 24p mode and my goodness, what a shocker. If someone else had shown me the footage I shot and told me they shot it on 35 I would have believed it! Granted,
  3. Greetings to all Super 8 enthusiasts! For those interested in some Super 8 sound cartridges I have 3 for sale here that were always kept frozen.. http://www.ebay.com/itm/3-Sound-Super-8-rolls-Kodachrome-always-frozen-/221979312795?hash=item33aeff829b:g:m~gAAOSw5IJWgF-K If nobody bids against you all 3 are yours for $7.70 plus shipping (regular or expedited). Bear in mind that there is no more color Kodachrome processing that I am aware of, only black and white negative processing - see listing for more details.
  4. I just wanted to take a moment to thank everyone who offered their advice, and Dominic - than you very much for the detailed answers! There's nothing like a lab guy to tell you how to do a negative cut, because if you do it wrong they're the ones that have to deal with it :ph34r: Yes I have Bill, these are actually one and the same negative cutter. I did speak to Stan, he and I worked out the numbers and he pretty much told me that it's probably not worth the savings in my specific case to have him do the cut. I wanted to ask, does anyone have any splicer they can recommend? I'
  5. Hi all, and sorry for being absent here for a while. I wanted to thank everyone for their helpful advice, especially Dominic. I would hire you in a heartbeat Simon, but the situation dictates that I am going to have to hire myself for this job and learn how to do this craft (something that will not be useful any longer, nonetheless). The last negative cutter quote I got for pulling and database verification came out to over $12,500, which isn't worth the savings. A gentleman at Bono labs (where I want to get my transfer done) who used to be a negative cutter initially said it wa
  6. Indeed it seems that times have changed... I've basically figured out that if I trim the negative flash to flash, I can save over 50% on transfer time. I spoke to one neg cutter and I realized that it just isn't worth getting the flash to flash done professionally when you count the cost of doing it. For my film, I priced it out to being $15 grand. That's how much they used to charge to match a 1000-1500 cuts feature (mine is at 2200). This leads me to the only other solution - do the flash to flash pull myself. Yeah, it's a lot of time I know, but the cost savings is worth it. H
  7. Lol, yeah I wouldn't be surprised David :) Btw, what do people do these days who shoot on film? Do they just get the uncorrected dailies and then go back to the uncut flats for the final transfer and go by keycode and autoconform? I was told that without cut rolls you have to allow twice if not three times the amount of time it would take with cut rolls. Any advice here? Thanks, - George.
  8. Hi all! I've been in hybrenation from the film world for a while and I've reemerged to find less labs. Seems like film is not doing much better than the stock market, lol. I've got a feature and I'm trying to get a flash-to-flash pull done so I can minimize the expense on my HD transfer. I'm very reluctant to take my negative out of NYC, I've got 78 flats of 35mm and I can't afford to think of anything getting lost on fedex. A quick Google search and a few phone calls revealed to me that NYC's big negative cutters, Noelle Penraat, N&D films, are no longer in existence. I only
  9. I also want to add that the practical reasons for shooting 35 are not so much there anymore. Back when I was in filmschool a lot of people still did the classic A/B roll negative cut and contact prints. Nowadays so many people go DI, that's become a standard budget item for a lot of productions. Filmouts have become cheaper, too. The line between HD and film is much more blurred. One of the biggest problems you're always going to have in a film is a finishing format, and HD is really great for that. You don't have to worry about making prints anymore (not to mention telecine$$$), not unle
  10. There is no such thing as "make the movie and they will come". Marketing is absolutely necessary - even word of mouth marketing requires an effort and expenditure on your behalf. You can't just stick up a website, pass out some fliers, and hope everything will be okay. If you want to shoot 35mm on a first time feature, go ahead - it's certainly doable. But don't be surprised if the budget goes from 10K pounds to 20 and more, because you're going to realize you need more film than you planned. I've read countless postings about people who want to shoot a feature 4:1, 2:1, and even 1:1. I'v
  11. Shooting 35mm for very little money is possible, and I've done it. But if this is going to be a first time feature, you'd better not do it and think you're going to get a good result, at least not for 10K pounds. Now that you have HD available, there's a real format that you can shoot inexpensively and have it look comparable to film (10 years ago when people were comparing mini DV to film I was laughing). Sure, you could scrimp and save, and yes, I LOVE 35mm (especially B&W 35mm, yumm). But if I had to do a no-budget feature all over again, I wouldn't stretch to shoot 35mm - it's si
  12. I've always thought about just cutting the negative flash-to-flash and tape splicing it together. That's a good way to save $$$, all they gotta do is roll the shots then. You're not in danger of getting in trouble if you change your mind. To rent a tape splicer and rewind table is fairly inexpensive I think.
  13. Thank you Walter. I've already seen these brokerages online, I was interested in a more "behind the scenes" view on this, i.e. how the negotiations process goes, perhaps a recommendation that someone might have, etc. There's tons of advice how to deal with other vendors but few if any on E&O companies that I've been able to see. From what I understand this can be a very tough hurtle to climb.
  14. Hello all, I'm shopping for a good deal on an E&O insurance policy for a feature film's distribution. Of all the things I've had to look for, this is probably one of the hardest and most secretive areas that I've come across. Can anyone offer any tips on finding the lowest cost E&O insurance policy that a distributor will find acceptable? Are there certain policy standards that a distributor will insist upon (i.e. a certain deductible, etc)? Any assistance in this area is welcome, I have searched and found precious little on this important subject anywhere. Thank you in adv
  15. That's what makes me tick as well.
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