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.

Random questions: What about composition? Does the lamp in the middle of the frame dominate the actors? The pen. Does it dominate the actors (as it appears to have its own mini-spotlight devoted to it)?

NOTICE: THE FOLLOWING POST IS TRIVIAL, UN-CONSTRUCTIVE AND ONLY TANGENTIALLY RELATED TO THIS WEBSITE: I have never forgotten Tyler Purcell's post several years ago severely criticizing the software and menus on Sony professional video cameras. I have never used such cameras, but his post rang so true to me because of my experiences years earlier with a Walkman AM-FM earphone device and later with a Sony radio-CD-cassette tape combo (that I still use in my kitchen, as a testament to my thrift). As I finished reading that thread years ago I have to say that some self-doubt crept into me, and has persisted over the years. That was because some other posters in that thread maintained that the software and menus weren't really that bad, or bad at all, and by extension I wondered if my reaction to the Sony software on my devices - thinking it miserable - was fully, or perhaps even partially, justified. Now, years later, I pass on with a grin the very first comment to this morning's Ars Technica article on a new Sony OLED TV: So, more than double the price of an LG, and we have to deal with Sony software? That picture would have to be hella bright to justify $3000.

Rewinds, a splicer, and viewer like a Zeiss Moviescope or Craig viewer should do the trick.

Why in the world would Kodak want to divulge any information that could possibly affect the price of silver, even if they were, as I suspect they are, so well hedged with long term fixed -price contracts and call options that the spot price of silver is immaterial to them? Why potentially stress-out suppliers lower down the chain and why potentially open themselves up to lawsuits from speculators?

Hopefully Kodak is doing what I understand a consumer of silver should be doing which is either holding long options (calls) and/or having long term fixed-price contracts with silver sellers (who would in turn hold short options (puts)). However, they wouldn't be the first commodity consumer to be speculating on their commodity instead of hedging.

I would be worried, I think, about some deep-pocketed disruptor deciding to "uberize," low-budget production.

Short and sweet! Excellent! One reason I watched it twice was because at 0.36 it looked like the hands were ensnared in a fine mesh netting, and that idea hooked me in for a least a few more seconds until the rest of the film resumed for me. That could be a scheme worth remembering: a judiciously used very subtle, and subtilely disorienting, shot that can be "explained away," but serves to hook the viewer.

Boogie Nights, or Gresham's Law.

Thanks you, I will be in Chicago sometime in August, and will contact you beforehand, if that's ok.

Thanks, I hadn't thought of an AFI or ASC donation, but that will probably now happen when the time is right. I went to Victor-Duncan once or twice just to gawk, as a side pilgrimage on infrequent trips to Dallas. I'm attaching his obituary that I just read: DUNCAN, ASC, VICTOR Son of Clark and Margaret Duncan, born October 5, 1924, passed away peacefully in his sleep at his home in Frisco, TX on September 18, 2007. While attending Highland Park High School in December 1941 as a junior, he joined the U.S. Navy and honorably served his country during WWII. After the war and earning his diploma, he attended SMU for two years and finished college at the USC Film School in California. Following his dream, he became a cameraman achieving ASC status with numerous Charles Guggenheim documentaries, including "The Monument to a Dream" as well as the dramatic film "The Great St. Louis Bank Robbery", starring Steve McQueen. Along with his wife, Lee A. Duncan, he built the largest motion picture equipment rental and sales company in the Midwest; Victor Duncan Inc., which he sold in the late 80's, and is now known as Panavision of Dallas. He also became well known in the Model A Restorers Club winning many State and National trophies with his restored vehicles. In later years, he shared his love of film making through teaching at both SMU and North Texas State University and taught many of his own Victor Duncan Film and Lighting Workshops which lead to numerous short student films, and a nine part series of documentaries on restoring Model A Fords. He spent his later years of retirement near his family in Frisco, Texas. A Memorial Service will be held on Saturday, September 22nd, at 3 PM at The Lakewood Theatre, 1825 Abrams Rd. Dallas, TX. In lieu of flowers, please find it in your heart to make a donation to The Alzheimer's Foundation, in the name of Lee A. Duncan. Always a true and consummate gentleman, a gracious host, and the life of every party, he was dearly loved by all who ever knew him, and will be dearly missed.