zachary sala

I love the lomo tank, i've also had excellent results with it. Gregg is right a dark bag/tent are a must for any filmmaker.

i shoot film a ton, but there are tons of things are dslr's are good for that film could be more difficult such as car mounting. Each has pros and cons, each film will command either for different reasons. They are both different mediums, and should be treated as such..why can't both work.

converting daylight to tungsten is something that doesn't come up too often as you really need to push the two stop difference on the 80A filter. Of course with 5500k balanced lights this isn't as much of a problem any longer. Any stock can be converted, and as long as there is a gray card at the start of each shot you should have no problem. Even if you forgot to convert your stock with the proper filter, a colorist can correct the problem with a gray card as a guide.(at least in digital) However this is not the best option as it will be more costly and time consuming. If your finishing on film itself it's nice to get it as close as you can, as it will be corrected from the dallies to answer print and more film means more corrections/prints. David is totally right, it's all about choice from each location and what would give you more wiggle room.

excellent looking, aged film is like a fine vintage wine. As long as stored correctly. My friend gave me 4 Aton rolls of 7201, i rerolled them and reprinted a wedge test matched with a new roll. Almost exactly the same.

In my experience i've kept packaged film stock in fridge for years without problems. Zip locks should mostly protect your film, the heat will probably be worse damage as your stocks will be baking within the cans. I only leave unused stocks out of the fridge a couple of days at the longest. You should be fine with ziplocks bags,

i've shot sync sound with a bolex rex 5 and H16. It's an extremely difficult task to cut the motor sound from tracks, and most non crystal camera's lose their sync at or around 30 seconds. I did a shoot in 10 degree weather and my bolex started to freeze, for the most part not made work in extreme cold. The quality of a bolex and krag is a bit more shaky than that of a higher end camera such as arri sr, also consider the length of the wind to that of the arri. I would find someone with a bolex and do a few tests to see if possible to get the sound quality you want without the motor noise. Also keep in mind that the price of the camera, lens and gear isn't too much after you buy the film, process and edit it. Many filmmakers can work with what they have, you just have to plan this out. I myself worked alot 3383 color print stock, contact printed it to save money..but the colors are really strange with that. WELCOME THE WORLD OF FILM!

people have been trying this grain layer for years, it just reminds me of one of the cheap imovie effects with the repeating scratches and hairs as shown in Wachsmuth's picture above.

this should help if you want to mess with your exposure http://super8wiki.com/index.php/File:Cartridgenotchruler.jpg

with super 8 the notch's on the side of the cartridge control the asa. I always use dwayne's photo for my super 8 ektachrome, and the exposure should be right. Unlike some lower end super 8 cameras, this one has no button batteries. best of luck, can't wait to see the footage.

It's very sad when a lab leaves, I would head over there and try to reclaim equipment they might be tossing.

7219 is the way to go for 16mm, but a nightmare on super8. With higher ASA you stand more risk for grain unless properly lit.

I tried something like this with kodak 7219 (500T) and noticed almost the same thing with a telecine. So i used the jk optical printer to expose it and it was far less grainy.

I would have to agree with John if your looking for gritty 80's horror vibe, the 500 Vivid is the way to go.

Always get your exposure from light meter never from videotap. Have a final stage plan, HD scan or 35mm blow up and pricing choices to follow. I helped a friend with his arri s16 shoot this last weekend and he had to yet to know the large amount of money to use the film correctly as many people think it might fit in a standard 16mm telecine.

It sounds like either a short loop, possible misconnection between sprockets , lastly recheck your tape splices so that both sides are tapped.

personally, i wouldn't use any light as it might cause a foggy or haze quality to your film unless your using 7302 (b&w print stock). As it can be used with an orange safe light, and very low asa. try loading the arri with a dummy roll (exposed, wasted film) once you can do it in the light, close your eyes and try to complete it. Tents and bags are really only needed on film locations. Just find a dark room like a bathroom with no windows..wait 5 minutes to check for light leaks and that will be your best bet. I've developed thousands of feet in my bathroom this way.

This seems like a pretty simple overhead lighting setup, 1 (backlight) a light on the wall, and the standing guy 2 the key light almost above the camera pointing down on the table extending to the hands on the table. 3 One filling the guy right at the table. angled, netted lighting is what you want, I would focus on lighting each person to attain the highlight contrast, then light the background to fit or vice versa.