charles pappas

To be clear any thing i want to throw out will be free. There are I few other things i want to keep but may sell cheap. Also, i will get the films etc., out of the dumpster for you if you want them. Clean construction dumpster, not food and garbage.

Anyone live in Austin, Texas? I just threw away about twenty 16mm industrial and educational films (not kid's films) a couple of Meir-Hancock 16/35 hot splicers, and some other stuff. I still have a bunch more 16mm films, as well as some more splicers and other misc. stuff that I need to throw away.. (The stuff I threw today is easily accessible at the bottom of an empty construction dumpster.) It is killing me to throw this stuff away so if anyone wants some of it and can come by tomorrow reply with your phone number and I will call you. PM me if you want. I also have some other minor items I will sell cheap if you come by and are interested.

I tried to thank you for this post on the 11th but it didn't go through so I am taking this opportunity to do so now. Thanks.

Agreed this is all subjective and based a few seconds of trailer, but I see, as you also say, a chintzy video look and in addition it looks assembled in a computer from CGI, or green-screen or whatever on a cyclorama set, with pretentious portentousness. Of course there is great talent attached to The Tragedy and I hope it turns out they have created a minimalist (minimalist based on the trailer) masterpiece.

They say Americans live to work and Europeans work to live, and I believe there is some truth to that. And I don't think American unions are really that powerful now, after having been beat-down for forty years.

You're right, and for the average joe unions were supposed to counteract that. The ruling class and their vassals in academia and the media have succeeded however in convincing the average joe that unions are bad for them. Successful unionization also sets a floor for non-union professional and white-collar types.

Too bad MST3K has ended. Judging from the trailer only, MST3K's send-up on this could have run right next to their take on the German TV Hamlet. Ever since their first few films I've thought Coen Bros. was a top two-to-five active movie director but, from the trailer, this looks unwatchable.

I don't know what the pros do, but amateurs when shooting movie film generally only use hyperfocal settings in combination with what you call zone focusing. The amateurs, in general, only pull focus as a rack-focus on a carefully set up static shot. They also don't move the camera much. I'm pretty sure about all this and I would think it should hold true for shooting video also.

It would be interesting to see how the manufacturer arrived at these capacities. I would think they would be based on most likely on the resistance of the hinge between the boom and tripod (that is tightened with a bolt) or possibly on the amount of "sway," in the boom that they would deem acceptable to most users. Lastly, I would think, would the capacity of the steel members before failure be the determining factor. Since boom counterweights and sandbags on the tripod can be easily added, the amount of boom extension and the angle of the boom should be less of a factor in the capacity than as compared to a construction crane.

I know they are just the hoods - everything else applies.

I have several of these viewfinders NOS, in boxes with the plastic tape seals unbroken. Anyone interested in buying one or some, or would care to shed some light on them. They appear to be discontinued but a couple of places on the Web are listing them at high prices. I want to avoid E-Bay if possible; if interested please PM me an offer.

I can't answer your question but I can suggest the following, assuming there is an eventual return to post-covid normalcy. See if there are any art museums in Toronto that run film series and cold-call to see if your short can be placed in the series for a showing, especially if your film fits the theme of the film series, if there is one, or fits in with a specific film. Conceivably you could even receive a small honorarium. Ditto the same cold-call for independent art house theaters in Toronto (if any) but I would suspect no chance of honorarium if you're lucky enough to be shown. See if there is a local band or musician who's work "resonates," with your film and see if they won't project your short in conjunction with their gig(s). If you don't have your soundtrack yet, maybe approach the band first to do the soundtrack. Organize your own one-time mini-festival, an hour or two long, free to viewers and the filmmakers (who you may know or who hear about it), at a bar, coffee house or any space really. Try to get some publicity for it beforehand to get a small audience and/or some filmmaker's films and invite all the local film critics you can think of. If any of this works at least you will not have suffered the indignity of paying your own appearance fee and in my opinion have greater potential benefit.

I am in awe.

Hey, some of you guys, don't have kids!

I am submitting this for any future "Google," searchers who are having their film pile up at the take-up reel of their Beaulieu R-16s. This bedeviled me for quite a while, and a Beaulieu tech missed it (or gave it the sunshine treatment). I finally noticed that lip of the metal cap (at the arrow) had pulled up from the housing, causing drag then pile up of the film. I used epoxy to stick the lip back down. As shown in the photo the front of the lip was and is still pulled up off the housing but the back half stuck down and that eliminated the drag.