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Joshua Robert Dy

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About Joshua Robert Dy

  • Birthday 12/17/2001

Profile Information

  • Occupation
    Student
  • Location
    Quezon City
  • My Gear
    I'm thinking of getting Bolex, Scoopic, or K-3
  • Specialties
    Premiere Pro, Super 16, looking to study Moviola and Steenbecks

Contact Methods

  • Website URL
    https://www.youtube.com/channel/UCP8DSGj0Ynr_-ggDzKHCL1g

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  1. bro Tyler, I think I can speak on behalf of cinematography.com in thanking you for all of the knowledge you've shared on this forum for years. I'm a scrubnoobbeginner when it comes to cinematography but everyone is so patient, supportive, and encouraging while we, the zoomies gen, are going through these learning periods. I will have a test go at all of them before ultimately deciding what is best for my film; to see if I can take up the challenge of Tri-X or maybe dial down and work with Double-X or 500T. Tyler, you da frickin bomb my guy
  2. oooohh Matthew thanks for your anecdotes; it seems more practical this way! I've been looking at the Sensitometry, Modulation Transfer, Spectral Sensitivity curves and stuff so I could make sense of what's going on between reversal and negative films, but your anecdotal evidences are really what's helping my decision making much simpler! Thank you so much for this Matthew!
  3. I've been making a bit of a decision for my super 16 movie: Tri-X reversal film or Double-X negative film. I believe my questions would be best summed up in these bullet points: How much does the 50 ISO matter between the 200 ISO Tri-X and the 250 ISO Double-X? Does the Double-X's more forgiving range actually affect your decision to take it over Tri-X? Can you tangibly tell if a place/spot wouldn't work on a Tri-X, but would work on a Double-X? Is it just more convenient then to use Double-X? Apologies if the questions were repetitive; I am fanboying rn on Tri-X because it's reversal (and I find reversal cool), but maybe I should open my eyes and convert to the negative film masterrace. edit: upon a quick lookie, it seems that maybe it's not to do with the ISO, but rather with the nature of reversal and negative film themselves (?)
  4. Thanks for the heads up Daniel; I'm preparing my tent in advance! I'm just kidding; thanks Daniel I am now strongly leaning towards taking this Australia route because it really is the safer option than the omegadirehopeless situation here in the Philippines. Brother Max, the profundity of this analogy shook me. Also, yeah it's just kinda sad there is not much equality of opportunity especially in this garbageheap of a country, but that's life for ya. I had thought that I would be able to cultivate from said hardships, but there is no need nor point to do that because in reality it would just hamper with my progress. I guess I just feel obliged now to give back because I've been so blessed man. Thank you brother Max again for sharing a nugget of your galaxybrain knowledge and thank you everyone for your cool insights!
  5. I have gone through a bit of a deepthink and I realized that while I may be away from my country, I could still very much bring these patriotic sentiments along with me wherever I go (sorry that was cheesy as hell). Also, I guess taking this less risky option would give my parents a sense of assuredness of my job security in the future. I just kinda feel bad because I'm in a pretty privileged position not everyone in my country could afford; so for this reason, I will work my ass off to pay it back to my country. Uli thanks my man for your advice
  6. That's a fair point Max! The grass is definitely greener over at Sydney, but I guess I still feel compelled to stay here in the Philippines because I'm hoping to learn something intangible from going through hardships, but thinking about it, it may just be wishful thinking. Thanks brother Max I'll be keeping your advice in mind.
  7. Sup cinematography.com imma get a little personal here if y'all don't mind. I am currently in the Philippines and am so decided on taking the Film course here at the University of the Philippines. Truth be told, the entertainment industry of the Philippines as a whole is dying and honestly, my job security after graduation is pretty rough as well. That said, I love this country; I love it so much because it may be a shxthole, but it is my shxthole (mods please have mercy). Basically I'm a nationalist and I want to further cinema here in the Philippines; that is until my family is currently pressuring me to go to Australia (Sydney Film School); they have all the bells and whistles and anyone in my position would take this opportunity had it been given to them; however, it is not the Philippines. It's not the same for me. cinematography.com, let me know your thoughts. I want to stay here despite the political instability and job insecurity, however idk I feel like I'm just not in control of my life man and I can't make decisions for myself and I have to follow my family's orders once again. Am I the Spoiled Brat?
  8. I've strayed away from chemistry since high school, but it's come to haunt me again 💀💀💀 Thank you David again because I had the wrong idea that films were spliced and worked on the ESTAR polyester print films; rather, it seems that the splicing happens on the weaker acetate negatives/reversal films! I'm learning something new everyday thanks David (see attached image)!
  9. Oooohhh thanks David I had not known that this was possible 😮😮😮, however upon checking on the prices per foot (image attached), the print films were still cheaper than the reversal films 😞; that said, I might use this method if I'm looking to do a really special screening where the amazingness of the reversal film could shine (I think this classifies as showprint? I can't seem to find the Eastman 2393 showprint stocks anywhere). Also, this is a very beginner question, but does this mean that reversal films can be cut and spliced just like print films (im hella excited if this is true!!)? I am sorry for my lack of knowledge because truthfully, I have never operated any film cameras in my life and have never seen actual film aside from Polaroids and Instax :(((( Thanks again David for the cool info!!! :)))
  10. Thank you for the explanation Charles! I am quite insistent on using the 16mm Tri-X reversal film because our uni has a 16mm projector that I want to use so bad, however I guess I should now seriously consider using Double-X negative film [im also very stubborn on making it B&W] instead so that I could print it on the cheaper Vision Color. I had not seen the alternatives to Kodak, so thanks imma take a look at them! Once again, thank you Charles for the reply; this is some really rad info 🥺
  11. Yeah, it's going to be projected in our uni theatre for my thesis film defense to my professors. This is going to sound ambitiously dumb, but for the thesis defense, I want to emulate the home movie 16mm projector vibe where every new roll has to be manually loaded. However, for the subsequent screenings, I will print the spliced version (I already inquired for Moviolas and Steenbecks here in the Philippines) on B&W print films [the print films are going to eat like at least half my budget]. haha im boutta pass away from the thought of syncing audio in post!! However, to continue with the emulation of home movie projector screenings (really noisy), I'm going to try to make the film [ambitiously dumb once again] suitable with and without sound. I have a Robert Wadlow-tall task ahead of me, but thanks for the support man!
  12. 16mm was actually my plan all along! I am working on a very very tight budget (3-5000 USD) to make this feature (imma collect money from doing odd jobs and begging parents). This budget restriction is so because, even though I could [not to flex] convince my parents for 20 grand, not everyone (especially fellow countrymen of the third world) could chalk up that amount. I did think about just using my sister's iPhone 4k camera and it would be much much cheaper, but I guess I'm a knight-errant filmmaker who still uses film ¯\_(ツ)_/¯ Given my budget, I'd probably be shooting on a Scoopic, Bolex, or K-3, so I'll be using 100-ft rolls (thinking of buying only 20 rolls of Tri-X for a total of <55 min) [our uni has a 16mm projector thats cool as hell and i wanna use it!!], and as for the vision of the film, it's still cooking 🍗 Thanks again Tyler for the info because im still trying to figure out the scope and limitations of my film. Cheers!
  13. Hey film student Zoomer here. I'm already thinking about the required student film thesis I'll make in 2025 (leaning towards 16mm Tri-X) and while checking prices for print films, I noticed smth weird (see image attached): 3 1000 ft reels of 16mm Color Print Film is cheaper than 2 1000 ft reels of B&W. Why? Is it because Color Print Film could only print from negatives/intermediates while B&W can do those + reversals? Is it because no one makes B&W films anymore? so for more context, I'm planning on making a 2-reeler feature length film < 55 minutes runtime; originally in B&W because I had thought that making B&W films is cheaper; if previous statement proves to be wrong, this changes things for me, a broke film student. Why am I looking to release print films for a student film? hehe cause I want to distribute it imma win Palme d'Or & Best Picture
  14. Thanks Tyler! This is some really cool information that I really needed because, as a broke student, it would be turboeconomical to use as little film as possible (some suggested Shooting ratio be 6:1???!). Knowing it's possible to literally do a 1:1 shooting ratio and that someone did it, I guess this gives me lots a hope [it is going to be a M A S S I V E challenge tho]. Again, thanks so much Tyler!
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