John Tashiro

Based on this history, likely a scam.

Had Kodak NY breakdown rolls for free this AM (by the pros in the darkroom). Fotokem charges for breakdowns but you can pickup spools at no cost. Any lab returns them to you after processing if you give them the heads up. Just the standard protocol..

Paul Burger (shurcotool@aol.com) at Shurco Tool (http://strattoncamera.com/pdf/shurco_2003.pdf) does great custom-made GG's - maybe your best bet. For Arriglow masks I'd check with Andree Martin (https://www.amcamera.com/) and Herman Verschuur https://www.cameramarket.eu/equipment.php?type=accessories).

Hi, would you be interested in selling the SL 435 Steadimag separately? Located in US. Thanks,

On the hunt to source additional Arrimag M120S's or SL Cine 400's for my 435 kit. (Well aware I have a better chance at locating a dinosaur bone). Any leads welcome, Thanks!

Is the Switar 16mm f1.8 still avail?

Interested in purchasing 2x 400' rolls of Kodak Vision3 250D 5207 & 500T 5219. Needed for a job Mon 11/11, local pickup in Los Angeles. Pls PM or email: jet@johntashiroshoots.com Thanks !

You're not alone- I saw the film in theaters within two weeks of its release and was pretty surprised at the amount of dust/dirt/scratching that was left in throughout (particularly in the first skate shop scene). Maybe it was the most punk/edgy thing to do in a film like this.. not complaining because it definitely works!

some examples of in-camera handcranking via my old Bolex H16 at 4:56 and 8:03 in here; https://vimeo.com/213604199

Kit still avail?

Thanks guys, I'm currently at the School of Visual Arts in NYC. My actors were great to work with and fairly natural, although they did get heckled at during most of the exteriors :P

I had the choice between shooting film or digital as the medium for the final project of my freshman year undergrad production class, this past spring (it later turned out I was the only student to choose film ;)). The combination of terrible weather and a tight schedule, actually ended up working out. https://vimeo.com/92373799 Specs: Arri S Kodak Tri-X Reversal 7266 (2 spools) Kodak Vision3 200T 7213 (4 spools) 24fps, 50fps and 6fps (for traffic exteriors comp'd together from 2:41 to 3:12) 10mm, 25mm and 75mm Schneider glass Processed at Pac Lab and ColorLab HD transfer at PrimeFocus NYC *Reversed in post* Comments and criticism welcome!

Thanks for the response Bill, to answer your questions: -In the car scenes to the back alley, it was just ambient light - the 6D was cranked to 12,800 ;) -Unfortunately we had no access to a dolly/slider -To light the car scene in the back alley, I bounced a 650 off of the adjacent white wall (trying to mimic moonlight) I will look into the works you've mentioned :)

Shot on the Canon 6D. Lit with a few Arri 650's. Some scenes graded in FilmConvert. Any comments/feedback appreciated! http://www.youtube.com/watch?v=PPKPFa-7eh0&hd=1