Eric Eader

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." ?

Get Shorty And one I watched last night: A Paris Education; While not about Hollywood, it is about a French Film student in Paris with allusions to Hollywood movies. Rather slow, monochrome digital B&W photography (as in mostly gray, not much contrasting black), monotone dialogue, but always kept me guessing as to where it was going right up to the last frame. Interesting artistic choices and change of pace compared to Hollywood.

I know it is said that one can never go home again, but what happens when Home leaves you??

5:13 PM on 8/23/23 it is still happening. Must be unusual Sun Spot radiation activity, Enemy computer de-stabilization/hacking activity, or Alvin (the chipmunk) was hungry. I dunno. Haf'ta wait-n-see.

Hello, My two cents worth: Try to find an Optometrist who is into photography. He is the best chance you might have for solving the problem both of magnified view and convenient full frame viewing. Imperfect memory being what it is, I seem to recall that the eyepiece tube is threaded. With a change of optics, maybe the Doctor can prescribe and have made, not a "rube goldberg" contraption attached to viewfinder, but an integrated and useful option for all who must occasionally peer thru it. Admittedly, only you know how much you are committed to using this camera, so you will have to weigh the "cost vs. utility"/"return on investment" aspect of my suggestion. Hope this helps.

Also by Blake Edwards: "10" With Bo Derek and Julie Andrews, and Dudley Moore (a Hollywood composer). Sorry for misspelling Julie's name in above post.

One can't forget the hilarious: S.O.B. with William Holden and July Andrews directed by her husband Blake Edwards.

Jailhouse Rock as Elvis Presley becomes a movie star. The Girl: about Tippi Hedren and Alfred Hitchcock during filming of "The Birds" and "Marnie."

In a Lonely Place

The Maestro Trumbo (2015) Hitchcock The Big Knife

Recently: Babylon, Mank Older: The Day of the Locust, Contempt, Sunset Blvd.

Ben, Check out the NYC Public Library (or your local one), to find back issues of American Cinematographer Magazine you can scour after deciding which 70's movies you like, for details concerning how they were made. That should help kickstart ideas for transitioning analogue methods to digital. The "usual suspects" rounded up include: Fogs, Low Contrast, Diffusion of the Harrison, Mitchell or Tiffen persuasion , Nets, French Ladies stocking (Dior), very expensive, very fine Belgian or French tulle stretched on filter frame, as well as any other item the DP experimented with to satisfy a desired look. Very generalized, but I hope points you in a right direction.

Boris, Did you ask Zeiss to recommend a repair facility? If not, ask them. True Lens Service is expensive, but may, in the long run, be a superior solution. (But I don't know their backlog/waiting list issues, or if they even do S16 lenses). And they are in Great Britain. But, it won't hurt to contact them--- maybe they will recommend someone closer to you. Video Europe.com may offer a recommendation. Again, best of luck.

Hello, You might try contacting Zeiss directly. If they don't provide the service you need, they might at least recommend someone who does. Hope this helps and good luck.

Greg, I agree with you on darkness levels being so low as to render an image invisible, and the music track being so loud that it drowns out dialogue. This happens on too many movies today. On the image side I think we are so far away from the Black and White days of moviemaking that separation of planes is a lost or receding art and subtle but effective illumination of objects within a darkened environment is virtually (pun intended) lost also. That can also be experienced within the pages of American Cinematographer magazine where images disappear into darkness quite frequently. Theatricality and reality must co-exist. With theatricality perhaps receiving slightly more weight in both image and aural space. A disclaimer: my hearing is not the best, helicopters and guns, have taken their toll; but still, today's dialogue is sometimes spoken so softly that it is inaudible even without a music track, which, when it is there, makes it doubly hard to hear. Again, I submit, theatricality must win over reality.... just by a little bit! Covid has killed local cinema viewing here in Daytona Beach, (last movie I saw on a big screen was either Ford vs. Ferrari, or 1917), but at least I can activate closed captioning when DVD'ing or streaming.... but that distracts from the visual experience. So, I look forward to seeing Oppenheimer streamed or on DVD soon.

Hello, If you shipped the camera via a Government Postal Service, try contacting their Office of Postal Inspectors. You may find them to be highly competent in tracing errant shipping, or determining whether it has actually been shipped. If it went through a private shipping company, a Postal Inspector may at least be able to point you toward the proper method for regaining your property. Of course that all depends on your country's laws, which may be different from U.S. law. I hope this will help.

Stephan, You might try "Black Wrap" Cinefoil from Roscoe, the same people who make cine gel. It is a thicker, blackened aluminum foil. They also make "White Wrap" which is used for reflecting light (as apposed to blocking with black wrap). One thing though, use gloves to handle it. I don't seem to be able to handle either wood or Cinefoil without getting splinters or cutting myself. Hope this helps.

Nathaly, Doesn't matter. Except that the polarizer has to rotate, so place it in a rotating slot in your mattebox, or in front of the other filters, (behind the lenshood) on lenses that don't use a mattebox. Basically, if there is a pattern IN the filter, put it as close to the lens as possible. Same with diopters. If you think there will be a problem or just searching for a "look" then TEST. That's the thing about "rules" break 'em while testing, and you may discover a look... useful now or later. Hope this helps.

Lewis. I have not seen Euphoria so I haven't a clue what preceded or followed this shot. So, what I write could be off the mark. But having said that, as this shot stands alone, look at the shadow under her nose and chin. That tells you exactly where that keylight was placed. Notice the inverted "v" above the nostril. Actually there may be two inverted "v's;" the second just below her eye sockets. (At least that is what appears on my computer screen). But that's only a maybe. Take a moment now, and sit in an office chair and lean back. (You can use any chair, just don't fall backwards). Looking up toward the ceiling extend your arms, and hiding your thumbs make an inverted "v" by bringing you hands together. That will approximate how the nets and light were placed for her face. Incidentally, lighting someone else is much easier than lighting yourself. (Ask Cindy Sherman!!). The lights used to light you are positioned sort of like a left, right side of a shallow "x" relative to you. Scroll back up to the picture of you and put your left hand out in front of you on a diagonal to block the light on camera right covering the yellow shirt and cushions. That would be close to what needs to be netted to reduce light intensity and focus attention back on your face. Note also the missing face keylight. More than one green light may be surrounding her forming both side and back light. On the camera right side, the yellow sidelight might have a solid cutting across her shoulder (or a silk). As for nets, read: Painting With Light by John Alton, Professional Cinematography by Charles G. Clarke, and Reflections by Benjamin Bergery. (An ASC publication). Also study both Mole-Richardson and Matthew's Studio Equipment catalogs. There are more contemporary books but I personally haven't seen them. Back issues of American Cinematographer, and online videos of Behind the Scenes for your favorite movies being made should help also. With research for filming permits you could make a trip to London and perhaps catch an exterior/interior location being filmed. I hope this helps.

Lewis, Study the shadows on her face. There are more than two lights working. And there is significant netting as well. That should get you started.

Adriano, While looking for something else I stumbled across item # 385469887510 on ebay: a tiffen 49.5 to series 7 adaptor. It is only $4.95 with $4.64 shipping. Shipping to Italy may be more. The adaptor is black and the retaining ring is silver. So far, without looking for either item I have found two... but they are here in the USA. One cheap, the other not so cheap. Hope this will help.

Hello Adriano, If you are still looking for an adaptor sized 49.5, there is currently one selling on ebay: Item #: 194077248492 for $16.20 + $4.00 shipping. (Found under: Harrison Filter). No I am not the one selling it, nor do I know them. Unfortunately, the price includes a blue color temperature filter with it... don't know how much use you would have for that. The one complication with Harrison is that most (if not all), of the time, the retaining ring doesn't have a female thread. However, any Series 7 will fit. From there it is easy to use Tiffen step-up rings. Example: Series 7 to 8; Series 7 to 9; Series 7 to 3" square; There are also 4" square filter holders (Tiffen), Series 9 to 4 1/2 step-up rings and hoods to accomidate whatever size filter you plan on using short of Panavision size and 6x6 etc. All of which show up from time to time on ebay. Hope this will help you.

Jacob, Within limits, you can also zoom with plus diopters.

Jacob, Don't forget "plus diopters" in front of whatever lens you use will get you very close focusing on objects closer than the lens alone--- minus diopters.

Monty, Measure the outside diameter and compare that with push-on filter holders by Kodak, Tiffen, or Harrison and use the series filter closest to the lens size. There a million Harrison push-ons available on eBay. A brass or aluminum push-on mated to the back side or your mattebox (like cokin fits for their plastic square filter contraption) would allow for mattebox and pro size square, round, or rectangular filters, in addition to focus movement in and out. Many lenses for 16mm format did not have threads so push-ons ruled the day for every lens on the camera. ( Three 85B's, 85N6, 85N9 for wide. normal, & tele lenses... lenshoods? fuggit about it!!) If that fails, then ask your LA rental house whom they use for machine work. I went to Clairmont's back in the 80's for something, but stuff they were doing for "Batman" overloaded them, so they referred me to someone off LaCieniga (spelling?), Blvd. He did a great job for me but I don't remember his name, or know if his shop still exists. If this is not the right answer, then hopefully it will put you onto the right direction.