charles pappas

I hope these photos of my IIB battery set-up help somewhat (I know very little about electricity). It came with an empty shoulder-strap battery case. I bought the batteries at Battery-Plus and I think they may have made up the wiring. Rechargeable and quite cheap. Volts add to 18; I think Arri called for 16.8, but amps were on target. Two-prong battery case outlet to two-prong variable speed handgrip motor. Battery-Plus or a similar outfit should be able to make something up for you.

I would like to later view the links, but this viewing distance/screen size business is very suspect to me. I get that the farther away one is the smaller the screen seems to be, and that on a 60 foot diagonal screen at a viewing distance of a couple of miles the artist might as well project a single pixel because it would be equivalent to one-trillion pixels, but still this is suspect to me. I will view the links later.

I am not a scientist nor a highly experienced artist, but does sentence one above actually relate to sentence two? And regarding sentence two, I've always been lead to believe that the worst the "resolving power," of the originating medium is (say Regular 8 film or cassette tape, cheap lens, etc.) then the more benefit derives from better "up-chain resolution," (hi-res film transfers, 15 ips tape tranfers, film blow-ups, sharp projector lenses). And vice-versa. I guess digital technologies are supposed to lessen or mitigate that "resolving power," factor.

Hello Matthew, I could not find any reference to to the $1,249 2C on E-Bay. Maybe something is wrong with E-Bay because they don't show any 2c in the completed sales filter and surely one must have been sold fairly recently. (They just have a couple of active 2C listings and I'm not in the market as I have a nice 2B.) I would be very surprised if your camera doesn't run like a (loud) clock and you may want to spring for a battery and hook it up, maybe grease and lube the camera a bit, etc., to increase its appeal. The main reason I'm replying, however, is to say that will while searching E-Bay I came across a posting for the book below; the seller was asking $42.00. I went to the publisher's website (U. of Mississippi Press) and they are selling both the paperback and hardcover for $19.70 inc. shipping. The blurb looked fascinating and I ordered immediately. So I want to bring this to everyone's attention, as I didn't see the book on the forum's search and it may have appeal for others FILM STUDIES PHOTOGRAPHY POPULAR CULTUREChronicle of a Camera Chronicle of a Camera The Arriflex 35 in North America, 1945–1972 By Norris Pope Paperback : 9781496814685, 202 pages, 43 b&w illustrations, December 2017 Hardcover : 9781617037412, 202 pages, 43 b&w illustrations, February 2013

There aren't many visual experiences that can rival viewing a well-projected excellent print of a well-shot B & W film (IMO). I viewed a fresh print of The Sleeping Car Murders (dp Jean Tournuer) perhaps 10 or 15 years ago and will never forget shots of black sedans that looked like a combination of that zero light reflecting paint and bowls of mercury. Which doesn't make sense, but that is the impression those black sedans left.

...the lighting would be calling attention to itself... This circumstance of the light calling attention to itself has probably been a focus of film scholarship and theory for decades, I imagine. What began as a necessity (film lighting) due to ultra-low film speeds has evolved over the decades as faster and faster film speeds have required less and less foot-candles but still some foot-candles and still the need to place them somewhere. I suspect that in the future, due to improvement in film/digital speeds and post manipulation, wonderful images will be possible at, say, a 1/8 foot-candle base level. But at the ⅛ fc base level, some lighting will need to be added to the set, either physically or digitally, to approximate reality. So the conundrum arises that the industry that added lighting due to the demands of the medium requiring a great deal of light becomes the industry that adds light due to the medium requiring almost no light.

Perfect answer, thank you.

Sorry for the delay and I just viewed your film for the second or third time. A few notes: the audio in the conversation between the Junkie and the Femme near the beginning struck me as too clean, perhaps some or more room tone or fuzziness might have been used; I would have used a different sound effect in the head-smash scene; and lastly when the Junkie tries to awaken the Femme near the end, a shot or two of his face would have cut-in well. On a more "global," view, it strikes me that reducing some of the static shots and using that running time to give the characters some backstory (one possible example, a quick photo montage near the start of the film) or some more personality, would have put the viewer in more deeply. I thought the tunnel location was extraordinary and admired the way you manipulated the space. The location is so good tht I tink a film could be constructed to revolve around that location. I think all your of teams technical abilities are pro indie film quality or better and your team just needs an involving story with strong characters, and some luck, to "make it."

Video.

Google shows that on March 3rd an Asian man in Flushing NY been wearing his was seen passed out on a sidewalk while wearing a mask and on April 24 a man crashed his SUV into a pole into a pole and told police he had driving for hours while wearing his N95 mask in the vehicle and must have passed out. The risk appears to be on par with being struck by lightning. And the mask risk, such as it is, is additive, not multiplicative like CV-19 is, ie, one person passing out while wearing a mask is not going to cause 20 people passing out a week later, which causes 8,000 to pass out the next week and 200,000 three weeks later and millions thereafter, to pick numbers randomly but indicative of the CV-19 spread.

https://vitals.lifehacker.com/do-masks-make-you-breathe-too-much-carbon-dioxide-1843421831 "Can a mask, cloth or otherwise, trap enough carbon dioxide to cause drowsiness or other symptoms? Fortunately, the answer is no. Carbon dioxide is a tiny molecule, far smaller than the holes in any of these types of masks. Remember, masks stop droplets of saliva and mucus, but they still allow air to flow. If you were wearing a plastic bag, that would be a problem, but that’s why masks are made of porous materials. The carbon dioxide can flow through them just fine. Masks can feel stuffy because your own respiratory droplets make the air around your face feel moist, but you’re not slowly poisoning yourself. As doctor and professor Michelle Cohen points out on Twitter, the study that’s sometimes cited isn’t really relevant. It tested a very different type of mask than what we’re all wearing, and while it found that carbon dioxide levels increased somewhat, it also found that the subjects did not have any symptoms of hypercapnia." "...Again, this is a theory that doesn’t pass a sniff test. If masks really did make people feel drowsy and confused, medical professionals would walk into work, strap on their masks, and quickly become unable to do their jobs. Masks never would have become standard equipment if this were true. How could a surgeon operate for hours if they were suffering from carbon dioxide toxicity the whole time?"

I see, however, I would not include "The Man Who Wasn't There" as it was originated on color negative and printed on b & w. I'll throw in one simply because it was anamorphic: "Suture".

I get the joke about the man who wasn't there, but nashville went over my head

A whole lot of life left in those strips of celluloid. Btw, the anyone know offhand what that "light - ???" system from ??? Camera is that was thanked in the end credits? I spent a few minutes on google and didn't find it.

Horror film Jennifer’s Body bombed 10 years ago; now it’s a cult classic Bad "sexy teen slasher" marketing buried this multi-layered tale of toxic female friendship. JENNIFER OUELLETTE - 9/21/2019, 8:10 AM https://arstechnica.com/gaming/2019/09/a-misunderstood-horror-film-turns-10-we-call-it-a-nerds-frightful-delight/

With this The Long Goodbye thread persisting for so long, i can' help but to gratuitously throw in that I consider it to be one of the best films ever made in the history of making films. It is jam-packed with quality.

The Slow Death of Hollywood https://mattstoller.substack.com/p/the-slow-death-of-hollywood?token=eyJ1c2VyX2lkIjoyMDEwNDcsInBvc3RfaWQiOjgxODYyLCJfIjoiSHdIQXciLCJpYXQiOjE1NjI3MDA1NDgsImV4cCI6MTU2MjcwNDE0OCwiaXNzIjoicHViLTExNTI0Iiwic3ViIjoicG9zdC1yZWFjdGlvbiJ9.b8NC4YJVESPkFZQRoJZ5b8QDnjb-6WFM7kRIsx-Skng i.e., Hollywood labor, not capital. Somewhat off-topic, but a wider view.

This thread, including the links, has turned out to be an extremely valuable one (pun intended) and perhaps it will be continued and more light shed on film finances. As regards the tax credits, apparently huge percentages of the cost of films could be deducted from an investors personal income tax, taxes due to income from other jobs or businesses completely unrelated to the film. Clearly, the higher ones income from their primary occupation, the more the movie tax benefit would benefit them. (The "starving artist" would see very little benefit.) No wonder this scheme was ripe for corruption.

I have a question about composition after viewing the above still. (The question does not relate to T. Win's set-up as he used multi-cameras and I don't know where any of the cameras were.) Let's say I had a single camera and wanted it pointed as shown in the above photo and let's say the actors were in their normal "starting posture" in the above photo, ie, they would bob back and forth but always return to the "starting posture." Would I want to move the table (and the and the background table) either way a few inches so that the actors faces were in the door window panes and not in the wood mullions? It seems to me that I would want to move the table slightly, but I can see a case for not doing so, and wonder if there are authoritative opinions or answers?

In theory, theory and practice should be the same. In practice, no.

Your film strikes me as an individualistic "tone poem," of a film made by someone wanting to exercise and express his creativity and technical aptitude. The film is in a sense beyond criticism, unless it shows glaring technical flaws or it is so long and/or self indulgent that the viewer, however sympathetic and open-minded he is, is turned off. Your film is perfectly fine technically and short and personable enough to keep at least me turned on, so no, there can be no criticism Now, if the film had an obvious intent, such as to convey a conventional narrative plot, or you had included a statement of purpose like that you wanted to show all the hues of blue or to increase the public's awareness of dolphins, then the film could be approached on those terms.

I would not say that I "made," a movie unless a couple of criteria were met. I would have had to have directed the film or been the creative ramrod behind it, such as producer/line producer, or producer/screenwriter. Secondly, the film preferably must have had some sort of public or quasi-public exhibition, or, less preferably, be accessible on-line to the public and the public would be able to locate the film on-line without previously having known it existed (Amazon Prime or Netflix as opposed to throwing it up on You-Tube, unless the filmmaker had an actively promoted You-Tube channel.) Exceptions made if a Hollywood studio sits on your film. By those criteria I have two, maybe three, films.

Thank you Evan and let me say that I think you guys as a team of craftsmen (actors, director, DP, lighting, sound, editing, etc.) have the techniques down well enough that your success in the conventional narrative feature film sense, if that is a goal of yours, will depend on the stories you choose to tell and how well you tell them. Technically, I think your team is ready.

Again, this was meant as a compliment not a denigration. I agree that the lightning was appropriate to the subject matter and environment in that it appeared to be hard and aimed directly at the set of actors who were portraying cruel murderers giving each other the "third degree," interrogation. I only call it controversial because on the film sets I've seen lit every light lamp is bounced off a wall, a ceiling, a beadboard or foil or a reflector unless it is aimed directly through scads of gel or scrim or is a tiny eyelight. Of course I exaggerate for effect but I do suspect many DP's would be on the verge of a heart attack if they walked on a set and saw a bunch of lights aimed directly at a set, even if they knew the subject matter and environment and the intent of the director. Having said all that, I could be wrong about what I remarked about DP's finding it "controversial," (it is based on very limited experience) and more significantly I could be wrong that you used direct lighting - it could all have been bounced for all I know.