Freya Black

>---"Night of the Living Dead" is 35mm Tri-X negative. I'had to tear apart the original splices and recement >them. The Tri-X must have been forced quite a bit and the lighting is too contrasty. This causes many people >to assume it was shot in 16mm. How did you come to be playing with the original film? I don't suppose you know what "The crazies was shot on?" ---Romero movies are definitely mainstream, even if they're on the horror fringe of it. Yes! The new film had a wide release at least. I was always led to believe that Night of the living dead had less mainstream distribution through screening at drive-ins and stuff, but I wasn't around so I don't know! :) Was it like that ot not, or were drive-ins considered to be fairly mainstream distribution at the time? available in 35mm. In fact AFAIK, the only one left is Plus-X??? ---You're confusing it with Ektachrome. Actually I was confusing it with the plus-X neg, which is even more confused! :) I was suprised to find the 100D was available in 35mm too! love Freya

I did some reasearch because I was sure there was something else that #I had seen other than Pi and Buffallo 66 but didn't come across anything that jogged my mind. However I did turn up the following films: Show Me Love (DIRECTED BY: Lukas Moodysson) Martin (DIRECTED BY: George Romero) Of course these films aren't neccesarily mainstream cinema distribution movies either but then nor is Buffalo 66. Pi is really the nearest thing I can think of with a somewhat mainstream release. I didn't come across much else although a lot of films feature bits shot on reversal. "Summer of Sam" directed by spike Lee, Domino by Tony Scot and isn't there some K40 in kill Bill somewhere or something? Maybe I dreamt that. I wonder if "Night of the living dead" is reversal? I came across one website that claimed "confessions of a dangerous mind" was shot on reversal. At first I thought that couldn't be true but having thought about it some more, maybe it was I'm not sure. It was impressive if it was! Natural Born killers has quite a bit of S8 reversal in it. One problem with reversal stocks in the cinema, is that there isn't much in the way of reversal stocks available in 35mm. In fact AFAIK, the only one left is Plus-X??? So most of these flms tend to be blow-ups from 16mm or 8mm. love Freya

PI is the only other one I can think of for definite right now... Lots of shorts spring to mind: The Grandmother (David Lynch) Inauguration of the pleasure dome. etc etc

I came across these lamps in the pound shop (they were next to the DVD's from the other thread) and it made me wonder exactly what kind of lights these are. They aren't exactly spotlights as they aren't foccussed right? But I assume the light would be more directional than an ordinary bulb? http://www.screwfix.com/app/sfd/cat/pro.jsp?id=11581 Can anyone give any comment on the quality of light from these things as I'm not really familiar with them. What kind of thing are they normally used for and can they have any cinematic applications or are they just plain weird? love Freya

I'm starting to wonder if buying DVD's isn't a kind of illness but anyway aside from that, I just picked up the following DVD's from the local pound shop: Corrupt Lieutenant starring Harvey Keitel and John Lydon (!!!!) Ride in the whirlwind starring Jack Nicholson. Apparently Mr Taarantino likes the second of these films. I havn't watched either yet. Has anyone here seen either? Other films I have picked up include: Buckets of Blood Carnival of Souls Bride of the Monster The little shop of horrors and some others, including a DVD with 3 hitchcock films. (yeah I like B movie horror films!) ;) Does anyone here have any recommendations for pound shop type movies to look out for? I came across a film called LA crimewave by Michael Mann that I assume is a must miss, but I welcome comments anyway! ;)

It depends what you consider to be good! Some people love Super8 more than 35mm! They like the look of it. Super 8 can use the same vision neg stocks that are typically used on 35mm productions. Obviously they will be more grainy because the film size is smaller, but then again, maybe you won't blow the finished film up so big anyway. *shrug* It depends on many things in the chain, what film stock is used where the telecine is done etc. 35mm film can also look very bad if you get a lot of practice in and are paticually skilled in that way. It all depends what you mean really. Bad and good mean different things to different people so you woud need to define good! :) love Freya

I really enjoyed the title of this thread which sounds like a cross between an agony aunt column and a b movie monster flick title. It made me giggle! :) Anyway yes Bolex vs K3. It's a bit apples and oranges really. The Bolex is probably more expandable with gadgets and stuff, but it depends on what bolex model it is? It it could use the 400foot mag, that alone would be a big plus. However I wonder what lenses it comes with? Getting decent c-mount leneses can be hard because everyone wants the things. Getting lenses for the K3 can be really easy because it can take M42 screw mount lenses that are on loads of old SLR cameras, so you can put soviet zeiss copies (Jupiter 8 etc) onto your K3, or possibly even real zeiss glass! Sometimes the lenses even come with a free SLR camera! ;)M42 is a big plus. In addition to that it is easy to modify the K3 to S16. Another huge plus. The one big problem with the K3 tends to be the build quality which can be very, very variable. However, if you have a working one, and you have shot footage with it and all is good, then you are home and dry on that score. I wouldn't feel antagonistic towards your friend, that's 150 dollars it's saved you and you can put to buying lights or other things you need. (maybe some nice prime lenses!!!) love Freya

A 25mm lens on 35mm film will look wideangle. On 16mm film the same exact lens won't look wideangle.

1) It could be to do with the telecine, if you are doing a transfer on and old rank or something then it could appear grainier than it might on some of the modern telecines. 500ASA film will of course be grainier than slower stocks anyway. You don't say what telecine machine was used for transfer or anything about the telecine, so who knows. 3) Overexposing the neg will tighten the grain structure. 1 stop might be a bit much unless you are using outdated stock, maybe something like 1/2 to 2/3 of a stop. You then process the film normally, you do not push or pull it or anything. It might be hard to overexpose if you are shooting in the dark tho love Freya

Eraserhead At Land (Maya Deren again) The cabinet of Dr Caligari Nosferatu Faust The Silence The Lower Depths Yojimbo Hidden Fortess Seven Samurai

As much as it feels like, they are just apps. I found you can get rid of the tray icon by going into the quicktime icon in control panel and looking under the advanced(!!!) tab. I agree tho, since I installed the new quicktime, my computer slows to a crawl or sometimes completely freezes for a while as the quicktime movie starts up! It's been a horrible "upgrade". You can uninstall itunes seperately from quicktime too thankfully! :) It was the first thing I did! love Freya

Write a nice letter to the seller saying that the camera doesn't seem to be working and ask if they have any suggestions. It doesn't mean you were ripped off, something else could have happened, see what the seller has to say. love Freya

The safe area shows you how much of the view is tv safe. What TV safe means is that the area within that boundry will display on all TV's. The area outside of that boundry may still display on some tv's, just not all of them. The transmission area is the area that would be transmitted or presumably stored on tape during telecine. This would be the maximum area normally viewable on a TV. So: transmitted=max viewable area tv safe=min viewable area The area viewed on a TV can therefore vary between transmitted and tv safe. It just depends on the t.v. being used! :( love Freya

Does anyone know what this was shot on? There are shots in the film(?) that look like really, horrid video. So much so that it jolted me out of the story a bit, but I did really enjoy watching it. In the credits, there are referances to negative cutting I think? So maybe at least some of it was shot on film? Anyone know anything about it? love Freya

No the S8 may be okay, it just depends on if the water has got into the film. Water is bad for film, especially over time as it can cause the emulsion to float off the base. The S8 may be protected by the cart and the foil, if water didn't get it then you will be fine. We can't say if it will be okay or not because you havn't given much detail about the situation. Look at the inside of the foil container, if there are water drops in there then it might be bad. If it is all dry then it probably won't have got in the cart either. This is one situation where the S8 cart might save you, but it does depend on if water got inside the cart. The 100foot spools are likely to have less protection. You don't say what the stocks are. If any of the 100foots are black and white and you have a home processing tank, then you could shoot the film right away and process it right away. In this case you might even want to keep the film wet. This is not a good idea in a camera with an electric motor or even probably in a bolex but I expect it would be fine in a filmo or an old keystone or something similar. Or you could try drying out the black and white stock and shooting it, but the film might stick to itself and you may have bits of film with no emulsion or raggedy looking film. Not good if you are shooting something unrepeatable. You could also try drying the film in complete darkness by removing it from the spool and hanging it up. Being wet it may be prone to collect dust and you would need to be certain it was totally dark. The emulsion may still be damaged if it sat it water for days. But perhaps the film is okay? You aren't giving us any indication of how bad it is. You could run your fingers along the film in a dark room and see if you feel any water. As I say the S8 is in with the best chance. However even if it seems okay, you might want to shoot it preety soon rather than leaving it hanging around because even if water didn't get into the films then the seal might be breached leading to a rise in humidity. Don't stick them back in the fridge. Keep them somewhere dry. love Freya

Don't discard them, donate them to me. I'll do something with them! :) But hey failing that I think you should give a visual examination of your packaging. I don't know what 100foot spools of film come in these days. If it is just a cardboard wrapper you may be a bit stuffed as your film has likely got a damn good soaking and is only useful for weird Freya projects. If it comes in those little plastic boxes or even those old metal tins, then you might be okay. This is one big advantage of 400foot loads as they come in metal tins. The super 8 might be in with a much better chance I think because the packets are made of a foil material that might be water resistant and then the cart itself might also protect the film. I'm not trying to be mean Dan, but I must say this if only for the other people who might be reading this. Those little sealable plastic freezer bags are really cheap and you can grab them from your supermarket. You can even re-use them as it's not like you are putting food in there. Be sure to get some before you even think of storing your film in the fridge or freezer etc. If you are storing stuff like 100 foot spools that might have poor packaging, or even S8 carts, then it may well be worth investing in a biscuit tin, or some other metal or plastic packaging that will protect your film further. You can tape up the edges too. If you do this, I suggest that you still put each film in a sealable plastic bag within your film box cache thing. Also don't store your film on the bottom shelf. I expect you have thought of all this at this point anyway Dan but just for other people reading... Film is too expensive to waste. ...and on that subject, don't ever bin film, theres it may be useless for any kind of proffesional production but there are lots of little people doing weird things who will probably appreciate it. love Freya

I think that political films do make a difference. Maybe not in a direct way but in the sense that they add to the flow of ideas and add to the diversity and freedom of expression which in itself could be seen as political. It's only when you don't have the freedom of expression that you perhaps realise what a special and important thing it is. It's good to be able to express yourself, it's good to be able to moan about the rain, even if it won't change it because you can then share how you feel with another person, and maybe they will say "you know, I hate it when it rains too!" Then you will both laugh and the rain won't matter so much anymore. I also don't think you can say that political films don't do anything. It may seem that way, because there is not neccesarily a direct reactionary response to the film, but that doesn't mean that nobody has been affected by the film or that it has made no difference. The world is full of complexity. love Freya

But why would the democrats do that? If they were to get in they might find the new changes to be useful. Especially if the public aren't that bothered about it all... love Freya

I guess so. I was actually wondering about footage shot with anamorphic lenses, in post. I think I've worked out a workflow now anyway, (at least for final cut) but if I get more questions I can always put them in general discussion or creative cow I guess. DV.com just makes my computer slow to a crawl for some reason. Thanks for the help guys. love Freya

It seems a little bit silly there isn't one. when there seems to be so much demand that there is even a sticky to tell people not to! Perhaps a subforum could be created? Anyway, thanks for the tip Keith. :) love Freya

Where is the area for discussing post issues in video based NLE? I'm having trouble finding it! Thanks. :) love Freya

Strangely I have shot under compact flourecants here in the u.k. with an ntsc camera and there was no flickering. Under normal strip light flourecants there was flickering like crazy with the same camera. Can't comment on colour temp as I was shooting in black and white. Not sure if this really tells you anything... love Freya

I like the idea of people living on another planet with a different coloured sky! :) Makes me smile. I think what they meant with the comment about being careful with the chemicals was refering to processing at home. (pouring chemicals down the sink) Obviously people didn't process K40 at home so Kodak dealt with the chemicals and it wasn't an issue the end user had to deal with, even if it was highly toxic! :) love Freya

Thanks to you all! :) I am getting the impression from looking around that it will be much cheaper to just make a silent print and run in the sound async from cd. Thats a lot more limiting but what the hey! :) Any idea what a timed print straight from the camera neg (no sound) would cost me? I've been taking a peek at the prices on the forde site but to be honest I don't really understand all the print jargon. :( But prices in germany or anywhere are welcome! ;) love Freya

Thanks Patrick, that was something I was wondering, whether there would be a minimum order! I suppose I could even make 2 films and make them as one print and cut them in half! ;) (or even keep them that way so they play one after the other! ) love Freya Good question, ECN2 35mm colour neg. Probably the soundtrack would be on fullcoat. love Freya I suspect that it will be near that here too, so thanks for the feedback. I can't imagine it's going to be a viable idea, I just like the idea of a real 35mm print, but in reality it will probably have to be video projected along with the film commercials. :) love Freya