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Showing results for tags '35mm'.
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IT IS HERE AT LAST Silence is Marty Scorsese's passion project he's been wanting to make for 27 years ever since he read in 1989 the book Silence written by Shūsaku Endō. It is set in the seventeenth century, it follows two young Portuguese Jesuit priests (Garfield, Driver) who face violence and persecution when they travel to Japan to locate their mentor (Neeson) and propagate Christianity. They shot for 8 months in Taiwan with a crew of 750 people for a budget of 48 million dollars. It opens on December 23rd as a limited release and in January wide. It is shot by Scorsese's new go-to cinematographer, ie the great Rodrigo Prieto who shot The Wolf Of Wall Street, and the pilot of Vinyl (HBO) with him. They shot on film for the day scenes and on the Alexa for night scenes, just as they did on Wolf. There's an article to come in the January issue of AC (which will be an issue featuring articles exclusively (except for Passengers shot by Prieto on the Alexa 65) of films shot on film). -
Hey, Ive got about 4000' of old fuji that I am planning on shooting a short on. Ive had it for about 6 years in my fridge. its half Eterna 250T 8553 and half Eterna 250D 8546. I just got the snip test back from fotokem and it looks like my layers are between .25 (red and green) and .70 (blue) off from what they should be. Im wondering if, for instance, I could add a yellow filter to my lens when I shoot to make the overall shift of my blue channel get back more in line with the other channels? Does it work that simply, or am I missing something. My thinking goes that if I add 1 stop of yellow to the overall image, then that would put my blue channel at roughly .20 over where it needs to be, and then if I over expose by a stop then that will help the overall quality of the image (though it will still be grainier than normal and a little funky in the colors. Is this reasoning sound? -
If you had the use of a 35mm film camera with a PV mount on it (such as some old Arris, which are advertised as PL mount but actually have a PV mount if you look closely), what lenses could you use with it? Would you be constrained to just rent from Panavision, or are there lens mount adapters so that you could use non-Panavision lenses?
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I've recently started shooting on 35mm and I have been extremely frustrated by the exorbitant quotes and turnaround times I am getting from post houses around the L.A area for scanning my films. Coming off RED Dragon..once I saw my first scanned 35mm test roll (also had a print made which I viewed on one of my moviolas) I knew I was never going back to digital. Film was everything I always wanted. I am toying with the idea of finding 5-10 independent filmmakers, in the L.A area who are shooting on 16mm and 35mm to come together and invest in a high quality, fast, high resolution scanner (Lasergraphics comes to mind) for us to use 24/7 at no additional costs (except for initial investment). The lasergraphics is a fast scanner (up to 30fps @5k) so we could crunch a lot of footage - fast! When the scanner is not being used by the investors, we could scan for other independent filmmakers, effectively paying ourselves back. There are obviously things to iron out like: -Where is the scanner stored? -Do we operate with a queue system(when investor 1 is done, investor 2 scans..etc) -Who operates the scanner? -Is there a quota limit per week? (If investor 1 has 20,000' of film but investors 2,3,4,5 have 1000' we make logical arrangements so everyone can have their footage scanned. After the one time investment, investors get unlimited access to the scanner for life. Investors sign a fair agreement so investors are protected against overuse, etc. That's it - I had this idea because of the frustration I've been going through lately. If anybody is interested or wants to pitch in other ideas, post here or PM me directly. I have a scanner option but need to discuss with potential investors.
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Colorlab and Kodak are having a film workshop on October 26th and 27th in Rockville, MD. Randy Tack, cinematographer and lead imaging instructor for Eastman Kodak, will be leading the workshop. Topics covered include 16mm and 35mm cinematography and the motion picture film workflow. Participants will be shooting and screening dailies both on film and digitally. Please pass on the information to anyone you think may be interested. It's FREE, but spots are limited and filling up fast! For more information or to register, go to: http://www.colorlab.com/workshop.html
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Looking to purchase the new RED Scarlet-W (10K Brain-only). Have not worked with RED much before. Looking to up my gear. Seen some footage from this new DSMC2 line and looks great! Deciding between this and the C300 Mark II. Has anyone worked with this yet?
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Hi, is anyone willing to share their knowledge on using the Arricam system of cameras? I’ll be shooting with the Arricam LT and I don’t have any experience with it (or film cameras, in general). Regarding battery solutions, the Anton Bauer Cine VCLX batteries seem to be the closest thing to the de facto standard battery for this 24V camera. And while I’m open to using a block battery, I’m curious if there are any other preferred battery solutions, especially concerning hand-held use. While I’ve heard of battery belts, I’ve never used one myself and I don’t know how comfortable I am strapping large batteries around my waist. Maybe it is a good solution though, considering the alternatives. How much wattage does the camera consume while filming at different speeds? It’s been difficult to find this information. The manual states the Power Bridgeplate is the standard plate used with this system. Will other ARRI plates, such as the BP-8 bridge plate, fit as well? The standard video assist system (IVS) operates on the aged NTSC/PAL system (and I have little hope of getting my hands on the HD-IVS). It seems the best signal output is S-Video. This isn’t an ideal connection for production use, but can anyone recommend a monitor that has an S-Video input? Or, should I just stick with the BNC Composite signal? Or, is it worth it to use a convertor box to covert the signal to SDI? Any modern-day, practical advice regarding these cameras would be very helpful. Thanks!
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I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!
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Looking to buy the complete shoulder set and handle grips for the 435. Let me know!
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Cameras éclair
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Eclair Cameflex CM3 35mm 2-perf techniscope camera for sale. I'm asking 2400USD for it. This camera is one rare 2-perf techniscope modified CM3 with PL mount. For those not aware of 2-perf, it basically is a modification which allows you to shoot Cinemascope directly on the neg reducing the stock cost to about 50%. I bought the camera from Film-camera-kit UK in 2011, and have never used it. I bought it from them in good working condition and maintained. I have only unpacked the camera and since then it has been stored, since I did not have time for my original intention of shooting shorts with it. Now I figure it's better to sell this beauty to someone who will have more time for it. Included: Tobin crystal sync motor Tobin Time Lapse motor (Originally for Bolex, but works with CM3) 2 400ft mags 2 200ft mags 2 100ft mags 15mm rods Batteries not included. Can ship it anywhere for additional cost. Not sure about the shipping fee's. But will check it out for the buyer location if interested. Item located in Sweden Mail me at erik@luminante.com if interested. Best Regards, Erik
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18k = IMAX 15-perf (or 36K?) 12-13k = 70MM 5-perf 6K = 35MM 4-perf 3K = 35MM 2-perf 1.8K = S16MM 1.5K = 16MM 720p = S8MM 480 = 8MM I had to share this with someone. I found so many people including myself looking for these numbers I had to compile this list. I cannot find anything close to this on the internet all in one place. Digitally, IMAX is referred to as being three times better/larger than 35mm (18k / 6K). On Film, IMAX is three times larger then 70mm and 70mm is twice as large as 35mm therefore it should be six times as large. This is of course the best possible scenario of each format. These are all comparables, they cannot be absolutely perfect. I'm comparing category to category. So much in the real world changes these numbers, for example cropping 16mm to a release format reduces the frame size and corresponding resolution or finding a camera and lens that can shoot S8mm or 8mm and come close to 720 or 480 quality.
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Just for educational purposes, here is some footage from a short I shot last year. We were stealing this, so we couldnt light anything. It's all available light. https://vimeo.com/174719862 We shot 5219 with a 2 stop push. I rated it at 1250, which gave me about a t/2 in some places, but often my meter said "E.U.", so I really wasnt sure how it would turn out. We I went in for the transfer i was very very impressed by how it held up, even with it only being 2-perf. I'm so used to thinking that you need to shoot digitally if you want to shoot available light at night, but this turned out exactly how I had hoped. We shot on super speeds at a t/1.4-2 split. The transfer was on a Spirit 2k at Fotokem in LA. We set basic looks as we went, and that's what this is, just a basic grade, right out of the scanner. If you want to download the 2.5gb 422HQ you can find it here: https://www.dropbox.com/s/n5qo2cm9au9wo7k/L9974909_CR_A15_A17.mov?dl=0 Here is the finished short: https://vimeo.com/130967218
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Hi there, Recently I made some very low light tests with a new camera, and when I got the material back from telecine, I noticed a light spill of some sort on the left edge of frame. I framed it in black so it's easier to see. Don't mind the poor quality of the transfer (plus the image is kinda grainy, because it was exposed intentionally under limiited light conditions). Couple of things come to mind. Could it be light spill from the sprockets on the telecine? One other thing is that, the door and viewfinder I was using has a kind of a mirrored double image on the left side which I can see in the viewfinder beyond the black frame. I have other doors that don't have this "problem" (if it is a problem...I really have no idea...). So I was thinking, what if the light of the mirrored image somehow going back through the groundglass? Any opinions would be most appreciated. thanks
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specs: https://www.ducloslenses.com/collections/classiczf2/products/zf-2-35mm-f-1-4?variant=3828538117 pictures of my actual lens: https://www.dropbox.com/sh/rn01f5muzjw50dj/AABYC5EIkO4XLeeJp6vmFH6Xa?dl=0 - Excellent / near new condition - Duclos Full Cine Mod - EF Mount Leitax Conversion - Original Boxes / Packaging / accessories $1500.00
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Hello, I'm selling my Letus35 Extreme Cine Bundle. This 35mm Adapter works with numerous cameras, including the HVX200, HPX170 and EX1. Everything is perfect working condition and shows very minor wear and tear. Package content: 1x Letus35 Extreme DoF Adapter 1x PL Mount 1x Nikon Mount 1x Canon EF/EOS Mount 2x HVX200 Thread Ring (82mm) 1x Sony EX1 Thread Ring (77mm) 1x HPX170/HMC150 72mm Thread Ring 1x Rod Support System with 8" Sliding Dovetail 1x Set of 18" 15mm Rods 1x Set of 6" 15mm Extension Rods with Red Couplers 1x Set of Spare Screws 1x Set of Allen Keys 1x Foam Padded Case with Code Locks Price: $575 obo. Item located in Los Angeles, CA but ready to ship anywhere at buyer's expense.
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Dear Cinematographers I just shot a roll of Fuji 1600 Natura film and was exceedingly pleased with the texture and color-contrast. The muted colors were prominently mute and the bright colors prominently bright; and on account of this and the high granularity the photographs almost resembled watercolor pictures. And so my question is - is there any way to replicate this effect on modern motion-picture stock, especially 16mm stock? Sincerely Grateful, Kurt Cassidy-Gabhart
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For rent are 2 ARRICAM's A package deal to rent a Lite and Studio in outstanding condition for $100 per day. Also ask about 3k Scanning to DPX at $200 per hour! Feel free to contact for more details. ARRICAM LT 3 Perforation: Arri Metal Flight Cases ARRICAM Lite 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Camera Aperture Cover Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 RS Block 24v RS Block 12v LT Camera Handle LT Center Handle Magazine Port Cover LT to ST Magazine Adapter LT Viewfinder Top Finder Block Short Eyepiece + Rubber Eyecup Extension Eyepiece LT Frame Glow Frame Glow Mask Format 1.85 LT S35 LT IVS Color Video Tap Case Containing (3): 400' LT Shoulder Magazine 400' LT Shoulder Magazine 400' LT Shoulder Magazine ARRICAM ST 3 Perforation: Arri Metal Flight Cases ARRICAM Studio (3 PERF) 35mm Camera Body PL Mount RS Block 24v RS Block 12v Filter Mask 18,7 x 24,9 Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 ST Top/Rear Load Adapter ST Top/Rear Load Adapter Cover Handle ST 3 Part Camera Handle (Long) Magazine Port Cover ST Viewfinder Top (SPHERICAL/ANAMORPHIC) Finder Block Short Eyepiece + Eyecup Extension Eyepiece Long (ST SPHERICAL/ANAMORPHIC) Frame Glow Frame Glow Mask Format 1.85 ST + LT S35 Footage Counter (2) Flexilight ST Rear Load Adapter ST IVS Color Video Tap Case Containing (3): 400' Studio Magazine 400' Studio Magazine 400' Studio Magazine Case Containing (2): 1000' Studio Magazine 1000' Studio Magazine -
Dear Friends, i am Michel From india and i would like to SHOT with mini DV and then covert into TELECINE into 16mm / 35mm kodak stock.
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Thousands of feet of 35mm film for trade. 16 rolls. Most of it is 400' rolls and a couple 1000' rolls. The film was handled and stored correctly by a studio and always refrigerated before I acquired it a week ago. 5 Canisters 400' Stock 5279 500T 3 Canisters 400' Stock 5218 500T 2 Canisters 400' Stock 5248 100T 3 Canisters 400' Stock 5246 250D 2 Canisters 400' Stock 5277 100D 1 Canister of 400' High Speed Color Reversal Daylight 7 rolls unopened 4 rolls are re-canned 5 rolls opened for clip test I'm looking to trade it all for a 16mm camera.
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Hello, I purchased film from a studio that was closing. A ton of 35mm and 16mm. I would like to sell all the 35mm in one sale to help finance shooting the 16mm. Here is a list of the 35mm film for sale: 5 Canisters 400' / Stock 5279 / 500T 3 Canisters 400' / Stock 5218 / 500T 2 Canisters 400' / Stock 5248 / 100T 3 Canisters 400' / Stock 5246 / 250D 2 Canisters 400' / Stock 5277 / 100 1 Canister of 400' High Speed Color Reversal Daylight Asking $1,200 for everything. Aloha, Mike mike@alohabigmike.com
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There are two questions I'd like to more about. Links, images and lengthy explanations are welcome. 1: In film or digitally what would be the benefits of changing Super 35mm aspect ratio to 35mm aspect ratio or any ratio that is smaller than super35mm? 2: What if I shoot digitally HD on super 35mm at 16:9 AR, then what are the pros&cons of aspect ratio changes & if lowering an aspect ratio originally shot at a higher higher AR & resolution would result in supersampling the master copy or render? thnks, SP
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This post is long, but please bare with me as I need help. I'm in the early prep stage of my first feature, everyday I'm in awe of how much I still have to learn. My project will be about only 60min long that consists of quite a few Steadicam shots. I'm hoping to raise about $60K for my budget. My strength: I have a well prepped script and I designed every single shot as precise as it can be. My weakness: Everything as of now is till on paper. I have never shot anything on high end digital (e.g. RAW) nor on film of any kind, 16mm, 35mm. My debate: Because my lack of real experience, I initially wanted to go with RED for its flexibility in post production in case I messed up something. But as I learn more and more about digital. 1) it looked "too good" for my story. I barely need a 2k res for my story. 2) the data management is a nightmare. I don't have the connection to hire a DIT on set, and then source a high end computer to process the large files. So I thought about shooting on film. Seeing from other people's footage it offers the look and color I wanted, the downside of noting being able to playback gives me worries that my lack of experience will underexpose or mess something up big time. With digita,l I can use the DJI ronin for steadicam shots, and the DJI OSMOS alike for some occasions to shoot in public where it may be very hard to obtain permission and costly for hiring extras. But if I shoot on film, a few camera I looked Arriflex IIC, and Arri SR2, have scarce resources for power sources, e.g. batteries that work. So I don't know how to complete a long steadicam shot with a Super 16mm camer. Even if I can complete a work steadicam setup with my budget, there is no way I can get away with it shooting in some of the public locations, even if I obtain the permits, every pedestrians will turn their heads and look at the camera. Which means more $$$ to hire extras. What should I do????? -
Up for sale: Large Harrison Film Changing Bag - $90 - very good condition, there are a couple tiny spots where you may notice the reflective coating has come off (<1mm). Large Harrison Standby Camera Cover - $75 - great condition, only used literally a couple days. Perfect for 3D rigs or a Panaflex w/1000' mag $150 if you buy both I have 100% feedback on the DVXuser.com marketplace and have been a member there for 10 years. More AC gear coming soon (lemo cables, panavision brackets, magliner brackets, etc - ask for details to save $$$ shipping multiple items at once) Large Harrison Film Changing Bag: Large Harrison Standby Camera Cover: -
Midnight Special "A father and son go on the run, pursued by the government and a cult drawn to the child's special powers." Trailer Imdb Link http://www.imdb.com/title/tt2649554/?ref_=ttfc_fc_tt Director Jeff Nichols Cinematographer Adam Stone After working together on Shotgun Stories, Take Shelter and Mud, Jeff Nichols and Adam Stone got even bolder in Jeff's new movie, "Midnight Special" If you have followed Jeff Nichols' career you might have noticed that he has a thing for small sci-fi stories where there are a lot of emotions and feelings being unfold in very strange ways. Small stories, simple plots and really amazing actors are constant in Nichols' movies and "Midnight Special" has all of that which might attract a lot of people but also put aside a lot of people too. "Midnight Special's" plot is super simple, a father and a son must escape from somebody in order to bring the son to a point at an exact time and day. Now, the whys are being intercut in the story so well that when the viewer is thinking about "why is this happening?" the story tells you exactly what you need to know in order to continue being engaged by the movie. The opening sequence is one of the best opening sequences I have seen this year so far and Jeff Nichols is so smart that gives you the right amount of information in the first five minutes so you know exactly what is going on.. without the actors telling anything about it! Adam Stone's work is definitely one of the best this year, creating the right emotions for the story but super discreet and yet imaginative, building up the tone scene by scene until the end. There is nothing else to say about all the actors, Edgerton is as fantastic as always, you can feel Shannon's emotions all the way through.. and the last shot is just mind-blowing! All in all, go to the cinema and enjoy a really simple sci-fi story where the actors act really well :) Have a good day.
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