Joshua Robert Dy

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

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.

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?

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)!

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!!! :)))

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 ?

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!

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!

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

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!

Hi, I'm a Zoomer film student and I was just thinking about the Super 8 competition where they were not allowed to do any post-production whatsoever on the one 50ft film they shot. This got me thinking which led to the aforementioned title above. If you somehow were just able to shoot a feature length film in 10 4.5 minute rolls of 35mm in one takes, could you still win Best Editing awards? Is Best Editing just a Post-Production only award or is Editing also in Production? This justs reminds me of an interesting video where it was discussed how animation was edited and apparently animation editors already hold significant roles in just Pre-Production!1! hehe sorry if this was a dumb question, but still looking forward to cinematography.com's thoughts! - Josh