Sam Goetz

I've also heard from others that Ilford's thinness caused a lot of problems back in the day. But we weren't going any faster than 38 fps and as far as I believe the mags we were using were supposed to be able to handle that speed under any condition. It would make sense that the thinness of the film would cause problems at high-speed, but when our camera started to choke we re-loaded and ran at normal speed and it still didn't work. Something happened to the mechanisms within the camera that stopped it from being able to run our film. Any ideas? Sam

I ran into a huge production problem this weekend, and while the rental people are trying to figure out what happened, I thought I might post here and see if anyone has ever had such a similar problem: BASICALLY, 2 weeks ago I started shooting on this 16mm short with an Arri SR II. Our stock was ORWO UN54 100D Black and White Negative. It's an uncommon German film stock, but it is definitely legitimate. Personally, I like the look better than any other black and white on the market. Anyway, we shot for about 6 days (16 rolls) with almost no problems, but on the 6th day one of our mags started making an insane noise and when our ac opened it up in the changing bag the film spaghettied out like crazy. We hand rolled it and put it aside. The next day, after doing some high-speed stuff the same mag started to have problems again. It lost it's loop, it started to tear perfs and again it made a horrible loud noise. We switched it out for a new mag. The next day we started using our new mag and were doing some highspeed stuff again and both of our back-up mags died in exactly the same way: loud noise, lost loop, and torn perfs. It was saturday and no rental house was open and we were in Pennsylvania, we had to end the shoot 2 days early. Since then, we have been trying to figure out what happened. Some people have told me that some Arri-SRs are callibrated for Kodak Color Negative and need to be re-calibrated for thin black and white stocks. Orwo is definitely a thin stock, but I didn't think that such a small problem could destroy 3 mags, especially since Orwo is supposed to have a callibrated short pitch. I've also heard that it could be a worn-out pull-down claw. Has anyone had any similar problems trying to shoot a lot of black and white 16mm negative Ilford or Orwo or Fuji because of thinness or uncallibrated cameras? Any advice would help because I'm worried that the rental house is going to blame Orwo and that Orwo is going to blame the camera. Thanks, Sam

Apparently, Ektachrome is getting discontinued at the end of 2004? Can someone tell me why this is happening, and if so, will there be any replacement stocks like the new b&w reversal? Also, is Kodachrome sticking around? Is ektachrome 100D 7289/5289 staying? They just made it available in 16mm, would they really discontinue it immediately? I thought it was safer for the environment anyway? What's going on and why?

I'm very interested in the new 100 D Ektachrome that boasts "intensely saturated color." As a fan of extreme saturation and a long-time lover of Kodachrome for it's ability to achieve it, I was wondering how this Ektachrome measures up. Is it up to Kodachrome levels? Does it exceed? How's the grain?

I'm very interested in the new 100 D Ektachrome that boasts "intensely saturated color." As a fan of extreme saturation and a long-time lover of Kodachrome for it's ability to achieve it, I was wondering how this Ektachrome measures up. Is it up to Kodachrome levels? Does it exceed? How's the grain?

I'm planning on shooting an upcoming short in 16mm Kodachrome. The problem is Kodak only sells the stuff in HUGE bundles. It's a tight budget and of course we won't be shooting anywhere near the amount that Kodak requires. Is there anywhere I can buy 16mm Kodachrome by the roll? I'm located in New York, but I'd be willing to have it shipped. Thanks, Sam

In a few weeks, I'm going to be shooting 7279 (Vision 500T) pushed one, without exposure compensation, and then printed down. There are going to be a few scenes with big windows during the day and I was wondering if I should shoot with an 80A filter or if I should shoot 7246 (250D). Is 46 a good equivalent to 79? Even if pushed? I'm kind of shying away from an 80A filter as I'm already stacking two filters. Thanks, Sam

I'm shooting a 16mm short about an open mic singer who is enfatuated with Elivs. The director wants extreme color saturation and contrast, which I was going to achieve by overexposing 1 to 2 stops and printing down (telecine) or pushing 1 stop with out compensating exposure wise. We're going to be using stage lights and only stage lights so we'll probably need a higher film speed, somewhere around 500, I suppose. I was thinking of using Vision 1 500T(7279). But what I really want to know is how I might achieve a gold-ish hue to the film. I'm not talking about a gold filter, which puts a yellow happy sunrise feel to a scene, what I want is almost bronze-ish. Like gold the metal. Like an Elvis impersonator, rediculously flashy, and covered in gold. I was thinking a yellow-ish filter in combination with a 1/2 skip-bleach might help, but then I'd lose the saturation. There's a lot of black and white still photography out there that gives skin a shiny metallic feel. Is there something that could help me achieve this effect in color, leaning towards gold, and with motion picture film? Any comments would be appreciated, thanks, Sam p.s. I was also thinking of using a star filter to help emphasize the sparkles on my main characters costume. Should I worry about screwing up the flares I will be getting from the stage lights? Is there a good star filter anyone reccomends? p.s.s. ALSO, thinking of using a smoke machine to create ciggarette smoke in the club. Is there a less annoying technique?

I'm shooting a 16mm short about an open mic singer who is enfatuated with Elivs. The director wants extreme color saturation and contrast, which I was going to achieve by overexposing 1 to 2 stops and printing down (telecine) or pushing 1 stop with out compensating exposure wise. We're going to be using stage lights and only stage lights so we'll probably need a higher film speed, somewhere around 500, I suppose. I was thinking of using Vision 1 500T(7279). But what I really want to know is how I might achieve a gold-ish hue to the film. I'm not talking about a gold filter, which puts a yellow happy sunrise feel to a scene, what I want is almost bronze-ish. Like gold the metal. Like an Elvis impersonator, rediculously flashy, and covered in gold. I was thinking a yellow-ish filter in combination with a 1/2 skip-bleach might help, but then I'd lose the saturation. There's a lot of black and white still photography out there that gives skin a shiny metallic feel. Is there something that could help me achieve this effect in color, leaning towards gold, and with motion picture film? Any comments would be appreciated, thanks, Sam p.s. I was also thinking of using a star filter to help emphasize the sparkles on my main characters costume. Should I worry about screwing up the flares I will be getting from the stage lights? Is there a good star filter anyone reccomends? p.s.s. ALSO, thinking of using a smoke machine to create ciggarette smoke in the club. Is there a less annoying technique?