Ryq Peden

Footage looks great! Yeah, I was planning on going to Gamma Ray for scanning. Any suggestions on where to get processing? I'm not willing to work with pro8mm due to a previous issue with them, not being a hater just figured that suggestion might come up, and I'm definitely looking for other labs.

Hey folks! I had someone shoot some footage of my band rehearsing in a fairly dark space. Metered with an iPhone app 1/50 f1.4 500. I'm not totally familiar with this camera, but know the internal metering might be off (not calibrated since purchase, AND vision 3 stock instead of whatever this camera was built to see, Kodachrome???). so wondering if I should push by a stop or two in processing? Sorry if this has been answered before, but I thought someone might be familiar with this camera and stock since both are fairly common, and could give me some specific advice. Thanks! P.S. shot with the internal filter bypassed (or, at least, I put the little screw thing in place, not sure if cartridge slots override that???).

Adding anything to the workflow during stop motion is adding a lot of extra time. If you've done any stop motion, then I'm sure you know waiting 5 seconds on each frame, when a fraction of a second will do, is adding hours or days of work to each scene.

Yeah, I definitely understand water is part of processing. This water got in during filming (so some wet before and some wet after exposure) and I can't exactly dry it out effectively. Dropping it in a bag of rice seemed like a bad idea since rice has lots of powdery residue on it. I also know that one should keep exposed film away from moisture during storage, so that is why I thought there might be issues. I had wanted to wait until I had a large batch of film to send in for processing and scanning, but I suppose I'll send this one in right away due to the water. Thanks for your responses!

I plan on developing it, so long as the lab has no issue with that. Any known damage that I might expect though? Let me put it another way, any known effects achieved by exposing film to water?

Rains came through today, a prism arc in the wake. I grabbed the trusty s8 and ran out to get the best footage possible. Unfortunately, the roads were flooded. I was on the sidewalk of a four-lane highway, the cars were driving in the middle lanes to avoid the water. A truck swerved to splash me. It completely soaked me and the camera. So much so that water got into the film. Never had this issue, so just wondering, would a lab touch this film? What type of damage should I expect? I'll let the lab know ahead of time and already marked it on the label. Hopefully it's salvageable,

A sound guy arguing about your cinematography tools is much lulz. I'd tell them I want the sound captured on wax.

Suspiciously similar: http://www.cinematography.com/index.php?showtopic=26182 Did you take care to load in complete darkness?

Any other labs besides Spectra offer ultrasonic cleaning after prep?

I would think they should have a deep and wide knowledge of lights. Or, at least, they will acquire it working. Maybe not in the sense of knowing every brands' lineup by model number, but should effectively know what types of lights and modifiers will offer them what they are looking for visually. That's really part of the job. If they've ever worked on low-budget films with skeleton crews they've probably had to do a bit of grip work along with Cinematography. Though, perhaps some folks just enjoy or respect the division of labor a bit too much and never learn the ins-and-outs of their companion departments. Makes sense to be able to communicate as effectively and efficiently as possible though.

How worthwhile is the ultrasonic cleaning that Spectra touts compared to how other labs process film? Sorry, off topic I know, but the previous comment made me curious if anyone has insight into this.

The Walking Dead is shot on Super 16, I believe. As was Moonrise Kingdom.

How old?

The issue is that go-motion, done practically, is a lot of work, requires specialty tools, and will increase time and budget. Most people just add blur using software nowadays. It's a breeze compared to doing it practically.

I'm not totally sure what you mean by technically effective. But, 35mm and 50mm are the focal lengths I use most.