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Will Montgomery

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Will Montgomery last won the day on February 5

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About Will Montgomery

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  • Occupation
    Producer
  • Location
    Dallas, TX
  1. Shooting 7222 is like shooting some of the really old Hollywood Movie stocks...if you don't have big lights it can get very grainy. A beautiful grain in my opinion but could be a bit much. Highly recommend testing before a shoot. Movies like Good Night and Good Luck shot in Vision 500T then desaturated in post so keep that in mind. Just plan on having plenty of light; more than you think you may need so you're not shooting wide open on the lens. It's always easy to remove light in post but adding it in just leads to more grain and ugly blacks.
  2. Focus tests I've done on multiple Scoopics seem to be fairly accurate. I'd love to hear your results.
  3. If you're a glutton for punishment you can make it work no doubt. Good luck with that. By the time you add everything on to it the cost and the cumbersome-ness would be crazy. Image can be more or less as steady as a 2c maybe, but not a 3 with registration pin. Not saying its a crappy camera (I have 5) just saying it's not what I would shoot a feature with. Would you really debate that?
  4. You're not going to make a feature with an Eyemo...1 minute at a time... They are great for crash cams and something where you don't want to risk a real 35mm movie camera; and perhaps for home movies if you don't mind changing reels constantly. They are not particularly stable compared to any modern (in the last 40 years) camera but not un-stable either. They give a noticeably improved image over 16mm even with cheap lenses. Here's footage from a wind up Eyemo...1080p transfer. Outer edges are extremely soft due to the lens but the center shows more detail than you'd get from 16mm in my opinion.
  5. Bernie & I go way back. I'll call him, thanks. Very true. But so nice not to have to constantly wind them. I do have a spring drive Eyemo that is as reliable as the day it was built. Also would work as an excellent bludgeoning weapon.
  6. I have several Steve's Cine modified (motorized) Eyemos that are looking for some service love. Since Steve is retired (don't want to bother him) it would be nice to find someone who services them. Might be expensive to send to Deutschland though... One is in pieces and another may just need a fuse for all I know; just don't have the time to sit down with them unfortunately.
  7. So even if you get a scan back that you think doesn't look great because of the age or temperature handling of the film, you might be surprised what a good colorist with film experience can do with the scan. They have tricks you won't find in a YouTube Resolve tutorial.
  8. Great news! So Cinelab is basically a one-stop-shop now for any kind of motion picture film processing, correct? Nice to be able to send everything to one place. Regular 8, Super 8, 16, 35, color reversal, B&W reversal, color negative...Double X B&W negative as well?
  9. Resolve is a Swiss Army Knife of video production and one of the kings of color. Definitely worth getting to know and awesome for the price (free!) and even the $299 full version is so very worth it.
  10. If you're just shooting 100' reels it's worth saving up your rolls until you have at least 400' probably. Even though raw film costs have gone up significantly and processing has gone up too, the transfer costs are pretty reasonable for much better quality. 2k and 4k scans today give you great data to work with. I do slightly miss the days of scene-to-scene color correction by master colorists...or at least hard working but extremely proficient colorists. Now I have great scans to work with but must develop my color skills substantially.
  11. That completely blows my mind. How does anyone expect to make a living in California? Same guy/equipment would be paid $1200 minimum in Dallas...possibly more. Too many small fishes in a big ocean. $200/day is fine for a guy starting out with a DSLR but for a professional with an Alexa? Ouch.
  12. Or are you trying to output to Super 8 for projection? You might have more options to output to 16mm at the moment...
  13. These guys may have some of what you're looking for: https://www.freestylephoto.biz These guys manufacture reels but if you buy directly you have to buy quite a few (although they are cheap per unit): https://www.tayloreel.com I have purchased from these guys in the past but it's been a while so probably worth a phone call: http://urbanskifilm.com/supplies.html
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