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Jesse Hanna

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    Austin, TX

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  1. Ok thanks for letting me know so quickly. I have a cheap 16mm camera so I guess I'll just pair that with the 100ft and use the 400 with the 400 mags. What I meant regarding the splicing was not projecting, but if I could just take 4 100' rolls and splice them together to make it 400. But with what you said about the right core I don't think that it's possible.
  2. Apologizes if this is a stupid question, but I've only used Bolex and Arriflex cameras and loaded the film directly into the camera. I'm going to be shooting with a Aaton Xtera Super 16mm that comes with 400 ft magazines, but not sure if I can use the 100 ft rolls or if I should just wait to buy a 400ft. Is it just the same loading/unloading process, but stop when the counter hits 100ft, instead of 400ft? Also I've edited on 16mm flatbeds before and I know you can splice together 16mm film, but because the film will be negative, is that not a good idea? Or too risky because of the perfs need t
  3. I can't believe you measured for 200 and got the image to look this good. I'm wondering what would the footage look like if it was actually metered for 500. The focusing I didn't really notice because it's mostly groups of people and not a specific subject. It also looks like it was overcast, so you bringing 500T seemed like the right choice. Those converted Krasnogorsk-3 really seem like hit or miss so while they seem significantly cheaper then built super 16 cameras, I'm always worried I'll end up with nothing usable. Same with most of the 16mm converted cameras. Are you only abl
  4. Not to derail this thread, but isn't the film camera makers (bolex,arri,etc), film companies (kodak,fuji) and film developers and their inflated prices somewhat responsible for their own demise? The people who work in film know that the people who make film are wealthy so they charge ridiculously high costs and then rather then adjust their costs, they just say film is over. Film development labs like FotoKem are extremely expensive, and the actual costs to develop film are no where near what they charge, but it is what they charge because they know their clientele. This is t
  5. I used a tape measure to measure focal length, no adapters or filters and I used the sekonic L-398 light meter. Everyone has given me a lot of advice on what I can do, and I will try to do this when I make the next film. Hopefully there will be an improvement and I can show it here. Thanks again everyone .
  6. Thanks for the advice, I've read a lot about filmmakers from the french new wave era, or during the 60's/70's easy riders days and it seems like they didn't have much in terms of legal accountability, yet now it seems like it's heavily enforced by festivals. In a lot of ways it seems like it's harder to make films independently now then it was back then.
  7. Yeah that looks great. I've got a lot I can do to try and improve my image for the next film. Thanks for all the comments and advice everyone. The footage you posted Karim doesn't look like it has any professional lighting, other then natural, and the house is just a house with plain white walls and not dressed in anyway and it looks great. Reminds me a lot of the look of 70's films, like Harold and Maude or The Long Goodbye.
  8. I've shot on private locations before and gotten releases, but I have heard stories from indie filmmakers going to locations without permits and shooting, some private and some public. I think Robert Rodriguez and Ed Burns have mentioned they've shot scenes without getting permission. Even some dvd commentaries have mentioned this. I have seen some festival submissions require certain clearances, but I'm not sure how strict this is. If a film doesn't have a permit, or release from a location, does that keep it from being shown in festivals or sold to distributors?
  9. The footage looks really good, I can't believe you didn't meter it and was still able to get something out of it. Also thanks for the nightmares.
  10. The film was purchased new, directly from Kodak, but it was already expired when they sent it. I think by two years. I was told that the film still works and that it's normal to use expired film. I had the film stored for probably six months or so, so it's a good 2.5 years expired by the time I used it. The lens was pretty old as well, but was processed right after. When you guys use HMI's or Tungsten, do you worry about the light source being so direct/bright that it doesn't fit the logic of the space? If I put HMI's outside the windows and blasted them in, I could see narratively that m
  11. Part of the reason I'm asking this is because I had a camera reservation ( few years ago) at film independent and when I came to pick up the camera they wanted to charge thousands on my credit card in order for me to rent it, so I wasn't able to and had to make do with a camera a friend of mine had on such short notice. Places like sharegrid and kitsplit offer insurance you can buy, but I don't know if they're expecting you to have 20,000 in collateral or something like that. I just wasnt sure how other people check out equipment, if they're not on larger productions with larger budgets.
  12. Hello Everyone, thank you for replying. I'll try to respond in order. Phillip - I had shot on the camera before, but only black and white. The camera was a Bolex H-16, with a pretty wide lens. I don't remember what it was, except that I think(it's been a while so I don't remember) that the 16mm lens is like half the normal measurement of a traditional camera.. It was very wide, I believe less then 10mm. I believe the lens was as old as the camera. 1950's I think Yale did the transfer and sent it over as a .mov, I did not use any filter. I don't know what rate the film means.
  13. I'm new here and not sure where to post this, so I'm sorry if this is the wrong spot. But I've seen a lot of camera rental places offer relatively cheap rates for cameras, but then require insurance or credit card charge with somewhere upwards of $20,000. My school had an insurance program that worked with some local rental houses, but not with others. Is there a way around this or do you just not rent from certain places? When I say "around this", I don't mean illegal, but are there someplace that don't actually expect you to have $20,000 and just want to make sure you're responsible for poss
  14. I shot a short film wit 500t on one location. The footage came back noisy, and I tried to fix it in post (premier) and it did what it could, but the image is now blurry and a little out of focus. It was an older 16mm non-sync camera, not super 16mm too. I'm planning on shooting another film using super16mm but don't want to make the same mistakes. The lighting of the room was great. We shot indoors of a banquet hall and the room had dark curtains and streaks of light coming through the windows. We metered the actor and adjusted it somewhat, and the footage is viewable, which is a plus, b
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