Lance Lucero

Check this out. I just ordered them. Reviews are good. https://www.bhphotovideo.com/c/product/1495604-REG/sirui_sh15_75mm_bowl_aluminum_tripod.html/reviews https://www.bhphotovideo.com/c/product/970945-REG/magnus_dwf_2_universal_tripod_dolly.html

I'm looking for a newer tripod that can hold my 16mm Aaton LTR. Something that I can attach casters to. The camera fully loaded weighs about 19lbs. Any recommendations...?

14 rolls of 7266 Tri-X Reversal, @ $35.00 ea.

Spectra Film and Video in North Hollywood.

5222 Double_X is awesome. RAGING BULL, 1980 and BROADWAY DANNY ROSE, 1984. I considered it for my last short, but you're right, I wanted the contrast.

Thanks! I'm trying to convince new film/movie makers as well that super 8 an 16mm is more cost effective than people think... It's hard fighting the HD invasion... Super 8 is not as limiting as you/people might think. All the dissolves in my short film THE LAST RESORT (except for one) were done in camera withe the lap dissolve button. My Aaton LTR can't do that. Plus, using a separate sound unit is common in film/movie making and super 8 cameras that have sound capabilities are "blimped" enough to record while shooting. As far a 16mm, I have been shooting it again. My latest film is called THE UNMENTIONABLES and it is in the festival circuit at present. I used the same film stock as did for the last resort, 7266 Tri-X reversal Film. Man, I love both formats! Here's a the teaser for THE UNMENTIONABLES:

Thank you!

The price of stock footage can vary... I shoot on film. I shot my feature film on 16mm. So I needed 30 to 60 seconds of vintage sports footage (curling from the 1960s) shot on 16mm film. I found what I needed after a long search at POND5. 48 seconds of vintage 16mm footage in its original aspect ratio at 1080 2K. Cost - $69.00. That includes a standard licensing agreement. Time length had nothing to do with it; it was about the rarity of the footage. If I wanted just regular HD footage of curling, I seen varying price for shorter time lengths, say, $50.00 for 10 seconds... It all depends on who owns the footage and how much they think they can charge. Did you find out what stock footage company owned the scanned version of the film...?

Best thing to do is secure an entertainment lawyer. When a distributor decided to pick up my feature film I read through the giant contract and made several notes of what I wanted to negotiate. I sent the contract and my notes to my lawyer and he drafted another version of the contract with my notes and his. I sent that draft to the distributor and we hashed out the terms. I believe it is a favorable agreement for the both of us. The process took a few weeks, but the key thing is that the distributor was willing to work with me.

The film is done! THE LAST RESORT short film has been in the festival circuit for the last year winning awards and getting a lot of attention. Here's the teaser:

Thank you. The Canon 1014XL-S can record sound, but I did not record any sound while filming. I shot the film at 24fps and recorded all dialog in post production. I "looped" the footage and had the performers say their lines about three times each and synced what worked to the proper take. All sound effects are canned. The complete mix and sound design was manufactured at Warehouse 9 Productions, Ltd. It was really fun!

Anyone still using an analog light meter for film? To be clear, REAL FILM, not HD. I have a digital Sekonic Flashmate L-308X-U that I have been using and it keeps telling me to open the camera up more than I need to... I just bought an analog Sekonic L28c2 and I'm getting reading that I believe to be more accurate... I mean, the difference between the two meters can be up to a 2 stop difference, with the digital meter always pushing an over exposed image. I even sent the digital back to Sekonic for calibration and I'm getting the same readings... Do the digital meters today understand film? Any opinions on this?

Amazing things are happening with super 8. What started as an experiment, and then turned into a production, was my short western film THE LAST RESORT. I acquired a CANON 1014 XL-S. I primarily shoot film, so i knew that I was going to shoot something, but I didn't know what, until I took a hike at Castlewood Canyon in Colorado. I ran across this amazing ruin and immediately made a decision to shoot a western there. After I staged a test shoot on location using a roll of Kodak 7266 Tri-X, had it processed and scanned, I fully released the possibilities of super 8. The film looked amazing! I completed the film in 2019 and it has been making the rounds in the festival circuit since. The film won the BEST IN PRIZE and the AUDIENCE AWARD at the UNITED STATES SUPER 8 FILM & DIGITAL VIDEO FESTIVAL, the biggest and oldest super 8 film festival in the country, if not the world. We are very proud of our cool little western film! Although I'm back to shooting 16mm, I have to shoot more super 8. Who else out there is producing projects on super 8...? THE LAST RESORT teaser:

Howdy all! My feature and a short are now in the festival circuit. HUNTING FOR FISH won best retro feature and THE LAST RESORT short has piled up some awards as well. Both are shot on film. Check out the trailers, if you will. https://warehouse9pro.com/w9-films/

I'm currently filming a western, shot in the west (Colorado), on film. It's called THE LAST RESORT. Shooting with a Canon 1014XL-S. Filming it on Kodak Tri-X 7266. On location. So far, the film looks amazing! This is a Warehouse 9 Production. I wish I could post a picture, but the image requirements are too small... I don't have a teaser yet, but check out my other film projects. https://vimeo.com/user2463860

I had my entire 16mm negative scanned to 1080p 2kish (I say 2Kish because it's not really 2K, but it's close) last year for my feature film that I shot back in 1997. I kept my negative in a cool dry place for years, so it is in perfect shape. The parameters of the image are fixed, there is no "blowing up" of the image. I was absolutely amazed at how gorgeous the image looked! It changed the looks of the film, in a good way. I had all of my rolls converted to an mov. file. Everything looks fabulous. When I transferred the negative, I did not have any kind of color correction performed. I wanted to make sure that I can adjust all of the highlights in the film, so the image looked a little bright and rather dull. After the scan was complete, I added the shots to my edit and output the film. Then I took it to a color correction program and adjusted the colors, highlights, and saturation to my liking. Here's the trailer to my film. The vimeo streaming file is compressed to 720p, but I think you'll get the idea. https://vimeo.com/308628867 Does this help...?

I tend to add more rim lighting to a female.

Shot this feature many years ago. Just finished totally re-mastering the film. 16mm. Arriflex BL. I'm currently soliciting and marketing the film. Man, it's hard to get noticed in this era of the HD invasion... FILM RULES!

Been shooting a lot of super 8 lately. Sankyo Super LXL 255. Canon 814. Just acquired a Canon 1014XL-S and a Sears C-129. Using film stocks - Kodak 200T, 100D. All the cameras are in working order. Check out the test footage here - https://vimeo.com/user2463860 and here https://www.youtube.com/channel/UCTrl1YXeP_2Uem4wl0tRDPA My tests are a bit more elaborate than most camera film tests... Follow are subscribe! Let's share!