Eric Eader

The Spy Who Came in From the Cold (1965) Black & White The Criterion Collection Double-Disc Set features a commentary by DP Ozzie Morris that accentuates the "WHY" (rather than "HOW"), for quite a few scenes of the movie. Mr. Morris also photographed in B&W: "Lolita" (original), and "The Hill." (with Sean Connery in a non James Bond role). ("The Hill" is one of my favorite films). Two interviews with author John Le Carre highlight childhood, and college memories of his time before entering the "spy world" with cameos by former East German and Soviet spymasters etc. Also included: really fine pre-production drawings. There is more... check it out.

Antoine, I don't know for sure, but my first thought upon seeing your "L" spring was that it's broken. My next thought is that originally it was symmetrical. (It reminds me of a spring that helps hold in the pressure plate on CP-16's). Inspect closely the short end. Hopefully, some Bolex people will respond with the right answer. Also, WD stands for "Water Displacement" and is not a lubricant per se. It is great for removing water but will harden over time eliminating any lubricating properties it appeared to have. (New, unwitting firearms owners make the same mistake, sometimes with more serious consequences).

Samuel, There is a lot of 'lost knowledge' concerning B&W photography, first with the advent of color film and more recently the takeover by digital. To recover some of that knowledge I recommend that you acquire as soon as practical at least these five books: 1. 'The Mystery of Filters II' by Hank Harrison (It is a notebook style item from late 70's early 80's). There is a also an earlier 1938 pamphlet edition with less info, but nice to compare with the later edition if you can find an inexpensive copy. 2. 'Wratten Light Filters' (1945) by Eastman Kodak Co. 3. 'The Photography of Colored Objects' (1938) Eastman Kodak Co. 4. 'Filters and Pola-Screens' (1951) Kodak Data Book 5. 'Agfa Lichtfilter' (1954) Dr. - Ing. Franz Wenzel A Soviet era East German book on Agfa Filters. I am assuming you read German being in Berlin. Die Extinktions- oder Dichtekurven der Agfa filter etc. Also Color and Color Printing filters. (I have to use a Translator myself but I couldn't pass the book up on ebay). Harrison is good especially for the theory. He questions whether/when to actually compensate for filter factors. Instead, he suggests that one think in terms of "How much the filter darkens white" rather than how much more exposure the film needs to compensate for light loss. (Over exposure/under exposure of film tones). The 'Filter Effect Chart' is extremely valuable. Also using the Pan Viewing Glass (23W), with filters to observe approximate effect on film. Early 'Wratten Light Filters' (sized approximately 5 1/2 x 8 1/2"), have diagrams showing filter cut-off and a listing of light frequencies passed or blocked numerically). (Match number to color). Watch the Yellow, Orange, Green, Red shift points on graphs. Especially important, it has 'Wedge Spectrograms of Standard Photographic Materials' in BOTH Tungsten AND Daylight. Why you might want to use an X1green filter indoors under tungsten. There is a difference in film's response to light color. Later versions deleted one or the other. (Yeah, they were using more powerful lights then). 'Photography of Colored Objects' (sized 6x8 5/8"), opens the door to using filters to alter color response for technical or artistic reasons. 'Filters and Pola-Screens' illustrates my point about material deletions, but uses color pictures of dinner plates to compare before/after with various filters. Converting color objects to 'gray scale' with the appropriate balance differentiation/separation. That is a lot right there!! But wait there's more!! By gelling lights, the old timers could take advantage of color response to lighten/darken an area for emphasis and still have detail (as needed). Observe a stage play photo shoot to get an idea of warm/cool, shadow/highlight effects on film. They also used dimmers for certain lights. (not so much for a change during the shot but to balance the look. Remember, no color temperature change... just lighter or darker with B&W. Don't forget nets in front of lights; but sometimes that is a forest/pest to navigate on 'no-budget' shoots. Here is a BIGGIE!!! Make up for B&W was different than for color. Remembering the idea: filters lighten their own color and darken their opposite color, a make-up artist could apply the appropriate shade to achieve almost any effect. The same idea for color gels on lights!! If you haven't smacked the computer in frustration yet, hang on. All the above means: TEST, TEST, TEST, and TEST some more. Bulk load 400' or 100' of 5222 and shoot, shoot, shoot. Hand develop and print in a standardized way so the differences show up; then shoot a roll of 7222 to compare and adjust the process first to see what happens relative to 5222; then to construct/execute a planned/designed scene. My comments are directed toward getting it in the camera on set. Post Production, as above, still applies. Of course while you are doing this everyone else is shooting digital, but everything I've mentioned will help you understand B&W in ways others don't. It takes TIME, MONEY, and TESTING. There is no short cut. Art is the Most Expensive Mistress of all.

Skyler, KEH shows a 17.5mm Cooke for sale and indicates the filter size is 48mm. That means you will need a 48mm step-up to Series 7 adapter at a minimum. (Or 48 to 52mm for Nikon screw-in ND & B&W filters). Look first for Tiffen adapters then Harrison but look for Tiffen retaining rings as Harrison did not usually thread the retainer for a lens hood or extra filter add-ons. (eBay shows Tiffen rings for sale). Kodak made excellent filter holders but being steel are quite heavy... and durable!! Of course if you have or find other brands that work go for it. (I don't know if both lenses have the same thread size like more modern standardized lens fronts). Hope this helps.

Hello Skyler, While the Azores are not the most gun friendly of places in the world, you might try finding a gunsmith, who WILL have a proper set of screwdrivers he can use to loosen the magazine screw without damage. He may also have for sale a set of "gunsmith screwdrivers." Typically, they are flat shaped, NOT, wedge shaped as standard hardware store flat head screwdrivers. That means less likelihood of mangling the screwhead and surrounding surface. Wheeler gun screwdriver kits in (various sizes), are very popular in the USA and can be found online at Brownell's or Amazon. What brand is popular for Portugal, I don't know; and whether or not the screw you point out is necessary for proper repair, I am sorry I don't know either, but I do know that proper gunsmithing screwdrivers present far, far less chance for mangling and defacing expensive and rapidly becoming rare magazines and other camera gear. Properly cared for that kit will last beyond your lifetime. I hope this will go at least a little way toward solving your problem.

Liz and Dick (2012) An attempt to portray the tumultuous lives of Elizabeth Taylor and Richard Burton.

Being the Ricardos (2O21) with Nicole Kidman & Javier Bardem as Lucy and Ricky.

That is not how I had it centered on the page!!! Man what a Bummer!!

Hello, Here is a quote from the 7th ASC Manual (1993): Variety of motors for all uses. Crystal-controlled 30V DC 4,8,12,18, 24,28, 32 fps with mirror positioning circuit, sync alarm, 50/60 Hz output signal. Quote from Samuelson's 'Hands On' Manual (1994): MOTORS, SPEEDS, & POWER REQUIREMENTS: Interchangeable motors, 24V DC governor controlled and 115V AC/DC 16--32fps variable speed. Proprietary or non- proprietary 36V 24/25fps crystal-controlled and 12, 16, 20 and 25fps pre-set variable speeds. 115V 60Hz 24fps, 115 or 220V 50Hz 24 or 25fps single or three phase synchronous. 24V AC/DC or 200/240V AC 24--128fps high speed. 115/220V AC single shot. Some discrepancies exist between "Official" references so above response seems appropriate for testing. Unfortunately, when I used one of those cameras, I didn't pay the slightest attention to power voltage. Just plugged in and rolled film.

M, In the late 1960's and early 1970's Vivitar made lenses with "T Mounts" that focused in the "normal' direction. They fit several brands including Nikon, each with it's appropriate "T Mount." Now, whether they will be suitable for your needs, I don't know, but in 1968 no one knew my photos with my Vivitar 135mm lens from a Nikon 135mm lens. I don't know if Vivitar made a 50mm f1.4 lens or just an f2 or f1.8 etc. but it is a starting point.

The 24x36mm frame size for still photographs has existed since the earliest days of motion picture photography. As early as 1914, Oskar Barnack realized that 18x24mm cine frame size failed to produce high quality still photo print enlargements, (grain size too large), and so doubled the smaller size creating a horizontally travelling format. WW1 intervened and it was not until 1924 that Leica cameras entered the market. This was an expansion of the original conception of the camera being used by cinematographers as a means to check exposure for problematic scenes. Of course 6x6cm, 4x5 inch, 5x7," 8x10," 11x14," and 16x20" users each sniffed at an alleged "higher quality" the smaller formats claimed and felt theirs' was the highest quality to be had. (Ah, but at what price?) It is true that the Nikon F (SLR), took the photo world by storm beginning in 1959, and the rest is history. More than one hundred years later and this argument is still going on? HaHa. (The Simpson's Police Chief's son just laughed). All this proves that "free enterprise" or "capitalism" is still alive and kicking, and that sometime in the (near?) future, the tree will have been thoroughly shaken and the best (most economical?), format will emerge as "standard" until the next production revolution.

Jonathan, To my knowledge, the short answer is: No. No one makes a cage for your camera. Yes: You can make your own. Buy a ream or two of cheap typewriter paper, some pencils and erasers, and a bottle of single malt scotch, then sit down and work it out one problem at a time. Keep an eye on weight reduction, convenience of operating and don't negate the advantages of that small shoot anywhere camera. Find a machinist to transform your drawings into reality. Many years ago, I took my 5008 to Clairmont Camera (a major rental house in "Beautiful downtown Burbank," now defunct), to make a baseplate with attachments to allow using a Chroziel mattebox and follow focus. Because they were doing a lot of work for an early Bat Man movie they recommended me to an outside machinist they used as needed and he did an excellent job for me. Why I'm telling you this is because one day I came home from work and on my second step into my bedroom, the camera on it's baseplate, sitting nearly dead center on a cheap fiberboard closet shelf suddenly snapped that shelf in half and fell to the floor, smashing the eyepiece rendering the camera totally useless (except for parts). The moral of this story: Keep the camera in its case until needed. Keep that in mind, as well as convenience and mobility when you work out your solution. Best of luck. Maybe post a picture or two of what you've already done; and some more when next phase is complete.

Daniel, Sorry, no I don't have his book. As for analogue still-photo processes, there are still colleges teaching them. Santa Monica College and Daytona State College are two I have first hand knowledge of offering B&W and color printing, in addition to Alternative Processes, along with Digital photo. No doubt there are others in New England, New York, and San Francisco (though I doubt any one wants to brave the apparent lawlessness in San Fran; "stolen cameras anyone?"). Double transfer color carbon printing is probably the best alternative to Dye Transfer now --------- at least materials are available. "Uh, but is it easier?" "I Dunno."

"What Just Happened" (2008) Directed by Barry Levinson, starring Robert DeNiro, Sean Penn, & Bruce Willis A LOL, yet somber comedy of trying to get a movie made.

Goran, While I have no experience with the film...... could it be Rollei reversal? Their website indicates "high silver." As does the back of the box. Just a guess as Rollei is a German company.

Phil, Sometime in the mid 1970's Technicolor sold the "Process" to China, and sometime in 1980 or '81, I attended a SMPTE screening of their efforts in L.A. They did not produce anything approaching a commercial/acceptable product. If memory serves, the image was almost totally magenta and woefully lacking in sharpness. The machinery, if it still exists, may still be in China. Perhaps someone from SMPTE or Technicolor remembers that or a later screening and has follow-up information. On the stills side, the late Jerry "Mr. Cibachrome" Burchfield, took our class to Bob Pace's workshop in L.A. to watch a three or four hour demonstration of Dye Transfer Printing (during that same timeframe). Mr. Pace used to use a personally adapted Omega colorhead on which he would place a client's transparency and let them decide the color desired for their print. Previous calibration tests enabled him to transpose those numbers to his required filterpack for the dye transfer. He sorely lamented the fact that he was using a commercially produced colorhead, and therefore he could not "patent the process and rake in a fortune." (He printed many of the color covers and ads inside Life magazine among other things). Eric Joseph at Freestyle Photo (in L.A.), gives seminars on Inkjet printing on just about every paper imaginable. The hands-on show and tell is phenomenal. His digital printing knowledge is encyclopedic and may be of help to you, not to mention maybe sending him along a new line of inquiry. Hope this will help.

Doug, In the 1955 released film, 'Summertime' directed by David Lean, photographed by Jack Hildyard, starring Katharine Hepburn and Rossano Brazzi, Miss Hepburn uses what appears to be a Bell and Howell AutoMaster 16mm magazine camera for almost all of the first hour of the story, taking it with her to film everything she sees. She even makes a magazine change 2:22 into the movie while on the train, and for all the world gives a good impression/simulation of being a knowledgeable photographer, winding after every shot, rotating lens changes, and making aperture adjustments/setting distance etc. If she didn't know anything about using a movie camera before, she certainly could not have had a better coach than Mr. Hildyard, could she? And, she made it look easy.

Hello Ofri, Is this is a narrative film --- making a movie with a "Ted Talk" scene within it, or a public event? I'm going to assume it is paid event. Is this place a theatre (for plays), or just a space? I'm going out on a limb here and suggest that what you need are theatrical lighting instruments for this project. By that I mean Century "Lekolites" or their modern equivalents. First, for the sake of the audience's experience, (I assume they've paid to sit there), there should be (as much as possible), no equipment in their way. (Magic). I'm referencing your photos of stands and diffusion in isles and walk paths... fire marshal very unhappy. (Third photo). You don't want an audience member tripping over a light stand or cable, do you? Try and find clips of past performances of this "Ted Talker" to determine how much area they utilize/traverse onstage.. Is the area in the photos where you will be working next event? Do they stay on the carpet circle? Now, back to the instruments. I would argue that "soft light" is your enemy because it goes everywhere! If they walk from stage right/camera left to stage left/camera right with a stop in the center occasionally you may "wash" the area with toplight looking down. Separation from the background. Lekolites and Source Fours have built in shutters to eliminate splattering the screen with light and are "focusable" to soften bounce off the floor. No flags needed. Does the house have a stage lighting system ---- dimmers, light board etc. and pipes from which to hang the lights you will need? Especially out front? Again, if the performer goes back and forth across the stage you need to light them from above 35/45 degrees frontlight and slightly defocused at necessary key level. I'm not sure I like the idea of them standing centerstage for long periods of time (in front of the screen), blocking the image for audience down front. (First and second photos). Can you hang black curtain to hide side lights on trees stage left and right? (second photo: notice spill on screen with diffusion). Do you have a dimmer board operator and rehearsal time to plan effects as speaker move across stage? Please, none of what I suggest is meant to contradict the above commenters. They are absolutely correct; but if this is a paid "theatrical" event and not you creating a movie scene, then "ballet" or roving speaker rules/guidelines may have more weight and appropriateness to the success of the event people have paid for. Recording it should be as invisible as possible. Study closely the "Ted Talks" (the screen is higher behind the speaker, generally), downlight and frontlight. One or two follow spots may be necessary. (Locked down or moving). Color for sidelights, front light with bastard amber and steel blue? Can't get the screen higher... then light around it (no soft light), (They use some wild color for accents--- but you don't have enough lights for that). Make a virtue of equipment shortage: all the area around the speaker darkened except where they are. Walk into pools of light. In a way, you kinda need to know their "routine" before lighting. To illustrate upstage sideline lighting with "trees" and hanging curtains check out "The Turning Point" with Shirley McLaine and Ann Bancroft. It's a great movie. (And brought back memories of my early theatre days). To wind up this long epistle, if you are creating a "movie scene" disregard the fire marshal comment, but study the no "softlight" option. Lekos and Fresnels are your friends at the appropriate time. I hope this of some help to you. And: to beginning cinematographers, there are far worse things out there to do, than to spend time in the theatre with lights, set building and painting while learning photography. Film and Theatre are about creating illusions; theatre does it in real time while film does it in reel time.?

Antoine, Sorry, I didn't realize your meter had that much cine capability. Many don't. I used to have a Minolta IVf which had flash reading capability for stills, and I do not remember whether it had Cine or not. A footcandle reading is fundamental building block. It tells you the actual intensity of light incident on your subject (in a standardized/recognized unit). Kodak says how many footcandles are necessary (they recommend), for exposure at any given fstop for any particular film. In a way, it's more of a gaffer thing. Your cine meter will take that unit and indicate the appropriate fstop for the measured footcandles relative to ISO, shutter angle/shutter speed, i.e. an exposure reading. By way of comparison, a spot meter takes a footlambert reading (the intensity of reflected light, a standardized unit), and integrates ISO, angle/speed for exposure recommendation. (Some meters only read footlamberts but aren't usually seen on a film set). Online there are plenty of footcandle related items to read/view, but old geezer that I am, I will go out on a limb and recommend Joseph Mascelli's "Cine Workbook" Be sure it contains both books: Text and Tools. He edited the first ASC manual way back when --1960's, not to mention, wrote the classic: "5 C's of Cinematography." Once again, hope this helps. Oh, yeah, have somebody standing by with oxygen and heart defibrillator when you read the price for the Sekonic C800U Spectrometer. ??

I hesitate to add this as I did not like it all, but: "The Lonely Lady" (1983), starring Pia Zadora as an aspiring screenwriter is set in Hollywood. Therefore it qualifies. Ugh!

Antoine, You have asked a question no one really wants to answer. A light meter falls under the category of personal use/work method preference. But I have to ask this: If this meter is to be dedicated to 16mm motion picture making, why metaphorically shoot yourself in the foot by using a still photography meter? A cine meter makes calculations in moving picture terms as opposed to still terms. And that is quicker, with less room for error. Now, as to types: If you are set on 2 in 1 method of operation, then I would recommend the Sekonic L-758cine, rather than later touch screen models. (Touch screens are more prone to accidental change). But that is a preference thing. Also, I recommend buying it new---- problems are covered by warranty. Old Spectra meters can be gotten for very little outlay, but will most emphatically need re-calibration. You won't work with a camera that runs @ 24fps for 3minutes, then 26fps for 1minute, and settles on 22fps for the rest of the take... will you? Remember a meter must read accurately over the full range of lighting: from dark to bright. Choosing Spectra meters with slides means getting as many slides as they make calibrated to your meter then keeping the most used together and seldom-used close by. (Push processing--slow motion, etc.). (Direct readout easily viewed). Don't have to worry about non-standard batteries like with their excellent later models. Pentax and Minolta made excellent spot meters and may be faster in use than newer combo models as there is no readjustment from Incident to Spot reading. That is a personal choice you have to make. When you need a "spot" reading, narrower is better. (IMHO). (Although, 2 meters do take up more room). In the excellent movie "Nijinsky," Serge Diaghilev asks a friend "Who is the most expensive mistress?" His friend named the most fashionable lady of the city to which Diaghilev responded, "No, ART is the most expensive mistress." There is no getting around it, film costs money. If you make the move to Canada you will be that much closer to Hollywood (Spectra), or New York City thereby saving on shipping costs. Maybe Toronto has a meter repair shop somewhere. Hope this helps, and Good Luck.

Four more for the list: "L.A. Confidential" (1997) "The Star" (1952) with Bette Davis and (a pre-"Rebel Without a Cause'), Natalie Wood. "The Unauthorized Melrose Place Story" 2015 "Boogie Nights" (1997) A seamier side of 'Hollywood.'

Beloved Infidel (1959) A story of F. Scott Fitzgerald's last years in Hollywood, beautifully photographed by Leon Shamroy with Gregory Peck and Deborah Kerr, in Cinemascope and color.

Olivier, Checking a "World Almanac" for specific conditions in mountains and desert of Oman may prove useful. Sometimes in the desert it is very hot during the day but very cool at night, other times it is always hot: night or day. The same applies to mountains also. Foul weather gear necessary for each condition. Long sleeve shirts rather than short sleeve. Mountains may experience more rain than the desert, but be prepared for rain in the desert and for runoff rainwater to create flashfloods capable of sweeping gear away. You don't have to necessarily stop production when spotting oncoming rain but be prepared for quick getaway. Local guides should know best on this, hopefully. Bottled water: your own supply and extra for the crew. Although the company should have plenty on hand. (better to have it and not need it than not have it and need it). Be careful of ice in your non-shooting hours refreshments. Omani, if not "Montezuma's Revenge."? Good hiking or military boots, well broken in. Thin and thick wool sox for hot or cold days respectively. Cotton holds moisture and becomes uncomfortable quickly in both temps. Blouse or tuck pants cuff into boot top to keep out tiny critters. A bottle (or two), of Pine-Sol for washing hairy parts of the body (or soaking in a tub), to get rid of critters attached to you. (No joke, most of those that attach themselves cannot tolerate pine). Pay particular attention to places snakes could be sleeping/hiding. Watch where you put your hands and feet, Get those pads you can freeze overnight and keep in cooler for drinks, (so as to avoid ice connected problems). There are probably many more things and others should add their comments, hopefully. Good Shooting!!

Jeff, "Ahhh, Travis," As a former RAF Brit I used to work with was fond of saying, "Now there's a bloody piece of work." But not as bloody as Hanshiro Tsugumo in fighting for his lost home in "Harakiri." (1962). Positively stunning. Hope we get the home page back soon. "I have to go now." I'm having an old friend for dinner. Bye." ?