Daniel D. Teoli Jr.

https://bust.com/arts/195701-these-20th-century-female-tattoo-artists-changed-the-game.html

I got an old film from the 70s. A lot of the film was in short pieces. They were marked with tape and coded like this... What does this mean? Just a temp edit? Why is 14/16 together and not in order of 14 /15 / 16? Film is about firemen of that era.

Lets see a photo of it.

I've seen maybe 70% of them. The last few movies on the list do not appeal to me, so am slacking on them. Just ordered Ship Of Fools from the library. No blu-ray, just regular dvd, but that is OK. I tried Days Of Heaven a few years ago. I had heard it had beautiful cinematography. But it seemed boring, so gave up on it after 10 - 15 minutes. I got ADD. Either a movie holds my attention or not.

Why? They are so cheap I thought they would retire regular dvd players and not blu-ray.

https://www.nydailynews.com/news/national/ny-news-ross-lowell-dead-at-92-story.html

What it is like to be a on-set movie photographer (Photo blocked by forum) https://medium.com/art-science/when-behind-the-scenes-movie-photos-finally-see-the-light-e137373d9b16 (Sorry, title on forum did not come out right and can't fix it.)

I wanted to buy a Negro Green Book to scan and put up on the Internet Archive. Could not find any originals, just facsimiles. I can see why... https://catalogue.swanngalleries.com/asp/fullCatalogue.asp?salelot=2377+++++516+&refno=++702336&saletype

The Existential Void of the Pop-Up ‘Experience’ NY Times: I went to as many Instagramable “museums,” “factories” and “mansions” as I could. They nearly broke me. (Photo blocked by forum) Candy pig spewing confetti at Candytopia. Photo: Amy Lombard for The New York Times https://medium.com/the-new-york-times/the-existential-void-of-the-pop-up-experience-a48fdd3e7f0c

Sunrise: A Song Of Two Humans (1927/28) – Charles Rosher & Karl Struss White Shadows In The South Seas (1928/29) – Clyde De Vinna With Byrd At The South Pole (1929/30) – Joseph T. Rucker & Willard Van der Veer Tabu: A Story Of The South Seas (1930/31) – Floyd Crosby Shanghai Express (1931/32) – Lee Garmes A Farewell To Arms (1932/33) – Charles Lang Cleopatra (1934) – Victor Milner A Midsummer Night’s Dream (1935) – Hal Mohr Anthony Adverse (1936 B&W) – Tony Gaudio The Garden Of Allah (1936 COLOR) – W. Howard Greene & Harold Rosson The Good Earth (1937 B&W) – Karl Freund A Star Is Born (1937 COLOR) – W. Howard Greene The Great Waltz (1938 B&W) – Joseph Ruttenberg Sweethearts (1938 COLOR) – Oliver T. Marsh & Allen Davey Wuthering Heights (1939 B&W) – Gregg Toland Gone With The Wind (1939 COLOR) – Ernest Haller & Ray Rennahan Rebecca (1940 B&W) – George Barnes The Thief Of Bagdad (1940 COLOR) – Georges Perinal How Green Was My Valley (1941 B&W) – Arthur C. Miller Blood And Sand (1941 COLOR) – Ernest Palmer & Ray Rennahan Mrs. Miniver (1942 B&W) – Joseph Ruttenberg The Black Swan (1942 COLOR) – Leon Shamroy The Song Of Bernadette (1943 B&W) – Arthur C. Miller Phantom Of The Opera (1943 COLOR) – Hal Mohr & W. Howard Greene Laura (1944 B&W) – Joseph LaShelle Wilson (1944 COLOR) – Leon Shamroy The Picture Of Dorian Gray (1945 B&W) – Harry Stradling Leave Her To Heaven (1945 COLOR) – Leon Shamroy Anna And The King Of Siam (1945 B&W) – Arthur C. Miller The Yearling (1946 COLOR) – Charles Rosher, Leonard Smith & Arthur E. Arling Great Expectations (1947 B&W) – Guy Green Black Narcissus (1947 COLOR) – Jack Cardiff The Naked City (1948 B&W) – William H. Daniels Joan Of Arc (1948 COLOR) – Joseph A. Valentine, William V. Skall & Winton Hoch Battleground (1949 B&W) – Paul C. Vogel She Wore A Yellow Ribbon (1949 COLOR) – Winton Hoch The Third Man (1950 B&W) – Robert Krasker King Solomon’s Mines (1950 COLOR) – Robert Surtees A Place In The Sun (1951 B&W) – William C. Mellor An American In Paris (1951 COLOR) – Alfred Gilks & John Alton The Bad And The Beautiful (1952 B&W) – Robert Surtees The Quiet Man (1952 COLOR) – Winton Hoch & Archie Stout From Here To Eternity (1953 B&W) – Burnett Guffey Shane (1953 COLOR) – Loyal Griggs On The Waterfront (1954 B&W) – Boris Kaufman Three Coins In The Fountain (1954 COLOR) – Milton R. Krasner The Rose Tattoo (1955 B&W) – James Wong Howe To Catch A Thief (1955 COLOR) – Robert Burks Somebody Up There Likes Me (1956 B&W) – Joseph Ruttenberg Around The World In 80 Days (1956 COLOR) – Lionel Lindon The Bridge On The River Kwai (1957) – Jack Hildyard The Defiant Ones (1958 B&W) – Sam Leavitt Gigi (1958 COLOR) – Joseph Ruttenberg The Diary Of Anne Frank (1959 B&W) – William C. Mellor Ben-Hur (1959 COLOR) – Robert Surtees Sons And Lovers (1960 B&W) – Freddie Francis Spartacus (1960 COLOR) – Russel Metty The Hustler (1961 B&W) – Eugen Schufftan West Side Story (1961 COLOR) – Daniel L. Fapp The Longest Day (1962 B&W) – Jean Bourgoin & Walter Wottitz Lawrence Of Arabia (1962 COLOR) – Freddie Young Hud (1963 B&W) – James Wong Howe Cleopatra (1963 COLOR) – Leon Shamroy Zorba The Greek (1964 B&W) – Walter Lassally My Fair Lady (1964 COLOR) – Harry Stradling Ship Of Fools (1965 B&W) – Ernest Laszlo Doctor Zhivago (1965 COLOR) – Freddie Young Who’s Afraid Of Virginia Woolf? (1966 B&W) – Haskell Wexler A Man For All Seasons (1966 COLOR) – Ted Moore Bonnie And Clyde (1967) – Burnett Guffey Romeo And Juliet (1968) – Pasqualino De Santis Butch Cassidy And The Sundance Kid (1969) – Conrad L. Hall Ryan’s Daughter (1970) – Freddie Young Fiddler On The Roof (1971) – Oswald Morris Cabaret (1972) – Geoffrey Unsworth Cries And Whispers (1973) – Sven Nykvist The Towering Inferno (1974) – Fred J. Koenekamp & Joseph F. Biroc Barry Lyndon (1975) – John Alcott Bound For Glory (1976) – Haskell Wexler Close Encounters Of The Third Kind (1977) – Vilmos Zsigmond Days Of Heaven (1978) – Nestor Almendros Apocalypse Now (1979) – Vittorio Storaro Tess (1980) – Geoffrey Unsworth & Ghislain Cloquet Reds (1981) – Vittorio Storaro Gandhi (1982) – Billy Williams & Ronnie Taylor Fanny And Alexander (1983) – Sven Nykvist The Killing Fields (1984) – Chris Menges Out Of Africa (1985) – David Watkin The Mission (1986) – Chris Menges The Last Emperor (1987) – Vittorio Storaro Mississippi Burning (1988) – Peter Biziou Glory (1989) – Freddie Francis Dances With Wolves (1990) – Dean Semler JFK (1991) – Robert Richardson A River Runs Through It (1992) – Philippe Rousselot Schindler’s List (1993) – Janusz Kaminski Legends Of The Fall (1994) – John Toll Braveheart (1995) – John Toll The English Patient (1996) – John Seale Titanic (1997) – Russell Carpenter Saving Private Ryan (1998) – Janusz Kaminski American Beauty (1999) – Conrad L. Hall Crouching Tiger, Hidden Dragon (2000) – Peter Pau The Lord Of The Rings: The Fellowship Of The Ring (2001) – Andrew Lesnie Road To Perdition (2002) – Conrad L. Hall Master And Commander: The Far Side Of The World (2003) – Russell Boyd The Aviator (2004) – Robert Richardson Memoirs Of A Geisha (2005) – Dion Beebe Pan’s Labyrinth (2006) – Guillermo Navarro There Will Be Blood (2007) – Robert Elswit Slumdog Millionaire (2008) – Anthony Dod Mantle Avatar (2009) – Mauro Fiore Inception (2010) – Wally Pfister Hugo (2011) – Robert Richardson Life Of Pi (2012) – Claudio Miranda Gravity (2013) – Emmanuel Lubezki Birdman (2014) – Emmanuel Lubezki The Revenant (2015) – Emmanuel Lubezki La La Land (2016) – Linus Sandgren Blade Runner 2049 (2017) – Roger Deakins via Peta Pixel

OP, you have to test the lenses at the stops you are going to use. Some lenses have to be closed down to get the edges doable. Others work pretty good wide open. Just depends. If a lens is adapted, that can make a big difference. Do some tests and pixel peep the edges. As far as your inquiry about using over size lenses to hit the sweet spot? Makes sense. We did it with enlarging to get the center of the lens. If you do test the lenses, send in some photos of the tests.

Long, but good video on copyright and fair use. It came from another discussion on whether it was OK to show a laptop in an educational, non commercial movie showing snips of various websites and whether the view of those websites violated copyright infringement. Are you underground? Own no real estate? No steady hi-powered job? Just got the clothes on your back, a few bucks in your wallet, smartphone, a vid cam, laptop and old car? You are probably judgement proof and can do as you like more or less. They wont get anything from you but practice. Especially if you work within what is generally accepted understandings of what fair use is and not intentionally breaking copyright for selling pirated items. Many times the lawyers will go after cases just to try to extract blackmail money even though it would probably decided as 'fair use' in court. But who wants to go to court? So people pay small $$ to settle irritation cases. ...but I'm no lawyer.

Here is the art at the show. https://www.artsy.net/frieze-los-angeles-2019

The Future of Art Fairs Is in a Hotel on Hollywood Boulevard A couple of snips.. https://www.artsy.net/article/artsy-editorial-future-art-fairs-hotel-hollywood-boulevard As the art industry scrambles to find new fair models that let mid-tier galleries participate without driving them to bankruptcy with booth fees and travel costs, three prominent figures in the Los Angeles art scene—collector Dean Valentine and dealers Alberto and Mills Morán—proposed a radical idea. They would return to the hotel fair model, a throwback to the Gramercy International Art Fair held at the Chateau Marmont in L.A. in the 1990s, where booth prices could be kept low due minimal infrastructure-building costs. For dealers who are really hard-up for cash, they could always sleep in their booth—there’s an option to keep the bed in the room... ...And the cost for the hotel fair would be much lower. Booths at Frieze start at $8,277.50 for the smallest booth, a paltry 215 square feet. For a large booth, mega-galleries have to pay more than $75,000. Meanwhile, a gallery at Felix LA can get a booth for just $4,000, and the most expensive booth, at $10,000, is a small uptick from the low barrier at Frieze—but that fee gets you all 1,200 square feet of the hotel’s over-the-top Roosevelt Suite, more than five times the size of a small booth at Frieze. Fair Use Photo Gallery 56 in hotel / show room with art display (Photo blocked by forum) Who would have thought galleries pay so much $$ for a booth at shows? They should boycott the greedy bastards that promote the shows. Oh wait...I guess they want to make $$. I forgot, everyone does not do as an underground'er like me would do. Fascinating article...

Isn't that something. You shoot the project and can't see your work. Sad. Were you prepared for the bugs or was it a learn on the job thing?

What is your main computer...Desktop or Laptop? I have an old desktop, but am thinking about going with laptop/s only. The laptops seem as durable as desktop when not abused. But maybe I've been lucky.

You have to have $$ to buy Leica. I bought a couple of used Lecia's on ebay when my mom died and left me a little $ or I could not afford one. Prior to that I used an old 6mp Epson RD1 rangefinder digital cam. The ASC Cine Classic mode simulates a classic, analog 35mm motion-picture film look, while the ASC Contemporary mode delivers the current digital style of contemporary movies. I'd like to see what the Cine Leica produces in photos.

If you have never been to Strand, give it a visit. Outstanding art and photo, cinema book sections as well as almost anything else you could want for books. The son of the founder just died and his daughter is running it now. You never know how long these family affairs keep going. Her kids may not want to take it over, so I figured I better archive the Strand a little. I visited the store before Xmas in Dec 2018. Spent about 1-1-/2 hours walking around. Shot 274 photos and just finished the first set. Still have lots more photos to look through. https://180thecircularfisheyeatlarge.home.blog/2019/02/12/strand-bookstore-nyc-set-1-of-3/ 4 floors of books and they claim 18 miles of books including their warehouse. 4th floor has some great lectures and presentation as well. It is a fixture of NYC. Here is photo of photographer Eggleston along with Steidl at the Strand. Internet Photo - Fair Use (forum blocked photo use)

A short historic film on 1981 Venice , CA.

OP, we all make mistakes. Art is not a precise science that runs by formula. When you work fast, as many of us do, we screw up once in a while. Just gotta suck it up if you are moving on to digital. I have kept some film cams, but I disposed of most of them. Good luck!

I guess the lto's can be a nightmare if things don't work out... Terrible support & software, Rarely works on Mac, don't buy By Matt I'm a big believe in LTO for data storage and archiving. It's cost effective and secure, easy to safely store lots of data for many years. This is no solution though. I'm running it to a Mac pro over thunderbolt 2 via a Highpoint Rocketstor I/O box. I have 12 or so tapes of data archived. A recent Mac OS update seems to have killed the drives ability to mount tapes (again). I have spent lots of time with the friendly HP folks in India, have had two replacements overnighted (which took almost two weeks). There is an obscure program called HPE Library and Tape Tools which is the only way to check or update firmware from a Mac. With a little digging through HP's bafflingly awful, sprawling mess of a Web presence, it can be found, downloaded, and installed, but then it does not work on Mac. There is no way to update firmware, no way to decipher the many bizarre error codes and malfunctions it has, barely any way to convince HP's tech support that they even sell LTO drives (just google this drive and see what actual info and support you can find). Terrible. definitely go with Tolis, mLogic, anyone else. https://www.bhphotovideo.com/c/product/1217933-REG/hp_eh970sb_storeever_lto_6_ultrium_6250.html#customerReview

Is this what you are talking about? https://www.quantum.com/products/tapedrives/ltoultrium/lto-7/index.aspx I never heard of them. Are they practical for the needs of this thread? I could not find a price. Usually when they hide the price it is very $$. For me all I have is hard or flash drives. I thought about buying the 'M' disk for archival work of still photos, but they seem to not be that mainstream. I think the M disk only goes up to 100 GB as well. I have close to half a million feet of film that needs scanning and archiving. So I wondering what are the best options to store it. It wont be all MP4's. I hope to have it frame by frame TIFF then converted to HR jpeg for storage after the grading and then DVD. Converting TIFF to jpeg save maybe 80% of the space as a rough estimate.

Excellent! The shadow on the clock didn't bother me as much as the color shift. But I really didn't notice it that much until the previous poster mentioned the shadow shift. The shadow shift may look good, if the color shift was not there. I'd have to see it.

How do the big boys store and back up their feature films? That must be something! If I hit the lotto I will buy one of these...or a few of them. https://www.bhphotovideo.com/c/search?Ntt=my%20cloud%2040%20tb&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

OP, if you do get true luminous paint, you can shine a bright flashlight on it and it will glow for about 10 - 15 minutes in the dark.