dd3stp233

For editing, I personally much prefer tape splicers. They are much easier, faster and simpler to use and the splices are much easier to take apart. There might be some people that like hot splicers for projection prints for various reasons but I prefer tape splicers for that also.

I had some developed with excellent results about 2 years ago by Yale Film and Video http://www.yalefilmandvideo.com/ They are located in North Hollywood. You may want to check with them to see if they still process it.

There is a person that has a patent for a process (United States Patent 4651313) to record a soundtrack onto film after it has been developed via a laser. The patent is from the 1980's but I have yet to find a lab that does this. There are probably many good reasons why they don't.

I find it rather strange that there isn't already higher speed stocks for motion picture use since there are and have been several for professional still photography. To name a few Konica srg-3200, Fujicolor Provia 1600 and Fuji Superia 1600. For black and white Kodak Tmax 3200 and Ilford Delta 3200 and that's just to name a few. So it seems the technology for making very high speed emulsions is already available. They just have not adapted it for use in motion picture film.

There are quite a few examples from the silent era where each frame of the print was hand colored (hand tinted). It ranges from quite primative to fairly sophisticated. It is also very labor intensive but it can and has been done in the past. Here is a link to some examples - http://www.widescreenmuseum.com/oldcolor/handtint.htm

The way color tinting was done in the early silent era was to take the section of print film and treat it with a specific chemical bath for the desired color. This is much the same as in black and white still photography, of how toning and tinting is done except it is done on prints. I have not actually tried it but from what I have read, the chemicals are basically the same. Some or most of modern toners and tinting baths are specifically designed to work on RC paper so that it only effects the emulsion and/or the silver in it so that it should work on motion picture film. You would of course have to experiment to see how well it works.

I had a similar problem with a K3 and Ilford SFX 200 stock. I ran many thousands of feet of other types of color and black and white film through it without a problem but that 400ft of Ilford SFX 200, the camera, jammed and did things like only advance half frames and bunch of odd stuff. I never figured out what the problem was though, I figured it must have been the film since the camera worked just fine with the other filmstocks.

I have shot tests with the 35mm version of it, 2374e, Pan SRF. It is very high contrast black and white negative film. The 35mm version has the Kodak date codes and stuff printed right in the center of the film so it isn't really useful for other then optical sound recording along the edges (what it was made for). As for 16mm - 3374, I don't know where the date codes are printed. Someone else may know or just test the film and find out. Also take note that 3374 is an estar based film. Here is a link that talks using it as camera neg. film http://www.cbattle.com/Handprocessing%20notes.htm

It seems like the newer DVD's just keep making those commercials and previews longer and longer. Some of the lastest ones I've seen, seem excessively long. Some DVD players can ignore the UOP (user operation prohibited) (or PUO) files, the commercials, previews and such that cannot be forwarded through. Most of the big name brands can't do that but some of the so-called grey market ones can.

Just wanted to point out that cars are by far the most deadly form of technology that people commonly use. From the U.S. National Vital Statistics Report of 2002, states that 43,354 people died from traffic accidents that year and is the number one cause of accidental death. That accounts for almost half of all accidental deaths. This report doesn't included related illnesses and deaths associated with the effects of pollution from cars on humans. One SUV driving one mile, in traffic, puts out more toxic chemicals then a cigarette smoker does in an entire lifetime of smoking. In the years, 1999 and 2003, traffic accidents were the number one cause of death for police officers.

I have tested some 2383, developed in black and white chemicals, but as negative. Even with a high contrast developer and extended developing times(longer then most machine processor can do), the film is rather low contrast. The base does come out clear and there is no apparent colored tints to it. It would definity not be the best choice to make prints on, that way. Most labs that I have seen, charge the same or less for printing B+W neg. onto 5203.

Another alternative would be 1-perf 35mm. The frame ratio is very wide screen. I don't know if any regular camera's where ever made that way but I have seen some specialized 35mm Fastax high speed camera's that are 1 perf.

You may want to check out the films of Guy Maddin. He has made shorts and features that are heavily stylized on silent and early sound movies.

Neil Young's feature film "Greendale"(2003) was shot on super 8. It was blown up to 35mm and had a limited theatrical release. Saw it at the premiere in L.A., of course, grainy on the big screen but he used it for a unique kind of look. So S8 has been used before to make a feature.

Safety issues aside, you can buy 1/2 sticks of dynamite over the counter in Mexico, in fireworks shops. I wouldn't recommend trying to bring them back across the border, though.

Guy Maddin also comes to mind, who has made some heavily stylized modern silent-type movies. VocALign is one program, although it requires at least a scratch track to match the ADR to.

Many low-budget European horror movies were also filmed silent especially the Itailian ones like Lucio Fulci's "Zombie". A more recent movie is "Six String Samurai" USA 1998 by director Lance Mungia. He shot about 1/4 of the movie non-sync with an Arri 2c. They had planned to do the whole movie non-sync but recieved additional financing and shot the rest sync. Also there are programs out there that can push or pull an ADR loop into sync which can make it look a lot better then the old way of doing it.

You would need to wind short-ends onto 100 foot daylight spools for use in an Eyemo unless it is one of the models that accepts mags.(of different sizes). I don't know of any adapters for other lenses but there are people out there that have done conversions to the camera to accept other types of lenses and also added things like reflex viewing and video tap. Eyemo's are wind-up clockwork type camera's and some of the models will accept an electric motor, both sync and wild are availible. I enjoy shooting with them, personally and find them to be nice little cameras. They are well made and of virtually all metal construction. The fact that so many are still around after 60 or so years and still working atests to that. As to how good any old camera would work, being that they are precision instruments, has alot to do with how well it has been maintained and cared for over the years.

The one in the first photo looks like a 1920's Lytax by Lapparatebau but it is hard to tell. The camera on the left of the second picture looks a lot like a Prevost, made in France.

With the success of the "Lord of the Rings" trilogy, Jackson has spent much of his profits building a state of the art studio, post-production facilities and his partly-owned props and digital effects studios in New Zealand also know as Wellywood.

Along this same thread, and I don't think it was mentioned above but what differences would the considerations for long term storage of polyester base film be? Would the can type and ventilation matter? or any of the other things mentioned specific to nitrate and acetate?

The George Lucas film "THX 1138" uses a lot of shots from security camera's and security moniters watching the characters. I can't say that Lucas was going for realism but it is interesting to see how those shots were incorperated into the flow of the story.

Most of Hayao Miyazaki's and Studio Ghibli's films were done traditionally with no computers at all with only a few expections. His films have set box office records in Japan so he must be doing something right. Miyazaki once commented on the subject, "Why do we need computers to do what human hands can do?"

An option that I don't think anyone mentioned, is that, if you go to a decent film school, they will have an equipment room and you can check out any camera, sound, lighting equipment that you need and have access to editing equipment also. Many teachers and professors also have their own person equipment that they may lend to you to help your project. A person in film school could easily make a feature for the price of the school plus film + processing. Plus, you get and education

That's not a nice thing to say about the father of the American space program as Wernher von Braun called him. Parsons nickname was the antichrist.