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Showing results for tags '35mm'.
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Hello, I just learned that Kodak has discontinued making 200' loads of 35mm film. I have an Arri 3C with both 200 and 400' foot mags. However, I would like to continue using my 200' mags. How can I best make 200' loads from say 400' rolls? I have a set of rewinds. Can the film stock be rolled off and used without rewinding? Thanks! Steven -
Hello , I'm looking to work with a DP or Cinematographer that works on film in Los Angeles for free to learn more in the field. I have been working in the film industry for 11 years. I started in NYC and been living in Los Angeles for the last 3. I'm looking to learn more on film and get more experience. I have worked on digital a lot, RED, ARRI ALEXIA, Blackmagic, Canon 5D and 7D, Sony and worked on super 16mm in the past. I was lucky enough to work on 35mm twice in NYC 8 years ago. I want to learn more and get more back into film and looking to meet new people with that experience. Thanks and I really love reading the blogs on here and love making films. Experienced in loading, building, and AC work, also operating. -
Hi, This is my firts post on this forum so i would like to share with you my recent showreel: Im, 24years old cinematography student from Polish national film school in Łódź. it was shot on 35mm, arri alexa, red epic, red scarlet, sony f3 Watch, and comment :) -
Here's my latest reel.. Moving to NY from LA next week. https://vimeo.com/96209450 35mm, 16mm, Alexa, Red, HD Thanks for checkin it out--
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WANTED: ARRI Super 35 Ground Glass & Arriglow Mask
Jesse Kreitzer posted a topic in Cine Marketplace
Greetings, I'm looking to purchase ground glass and matching glow mask for an ARRI 535B. 1.85 glass preferable, but 1.78 and 4.20 are also welcome. Thank you for your help. -
Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider. First off, a solid amount of the video is shot in a city (Richmond, VA) at night, with only available light, meaning I was basically consistently rating the film at around 2000 ASA, sometimes higher. So grain will definitely be an issue, and on top of that, I plan on pushing a few of the rolls 1 stop. From my previous experience with 2k scans, it seems as if the higher resolution relative to HD makes grain seem even more apparent in scans than it does in telecine, so would the combination of the thin negative, the push, and the 2k scan make the grain way too intense? I understand that "way too intense" is a vague quantifier, so I guess to put it a bit better, would I be better off in terms of keeping the grain at a manageable level (given the negative that I'll be working with) with an HD telecine or a 2k scan? And I guess in a more general sense, what would be the advantages (or disadvantages) of going with 2k in this situation? Also, this may be a stupid question, but just to clarify my understanding, it's definitely possible to maintain the 1:33 aspect ratio with an HD telecine, right? Any time I've previously had HD telecine of 35mm it's been automatically cropped by the lab to conform to a 1920x1080 frame. But theoretically wouldn't it be possible to maintain the full 4-perf frame with no cropping if I specifically instructed the lab and just have bars on the left and right of the frame? The film was framed for and always intended to be presented in that format. Any help is greatly appreciated! Thanks, Dylan
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I'd love to know your opinions on which is your best 35mm camera. If you want to mention what lenses you prefer working with these particular cameras that's cool too. Cheers Matt
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Hi all, So I'm running into a little problem, and am a little confused. Basically, I'm having trouble choosing between a FF 35mm DSLR (Canon 6D) versus APS-C DSLRs (Canon Rebels, Canon 7D). I'm very inclined into choosing the Full Frame format because of the of the 35mm mount lenses and the distortion factor problems with cropped sensors. But I'm still not sure, because, as I'm trying to match the film look, the S35mm format rings in my head and I get confused. What would be closer to what I want? Keeping the APS-C sensors size? or upgrading to FF? Please excuse if my question seems ignorant to you, I'm only 17 and still in my first years as a student. Thanks for your feedback, - Jules.
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Hi everybody. Urgent question. I'm in the process to get Sponsorship for our documentary, we'll shoot with a BlackMagic Pocket Cam. We have 2 options for the Zoom Lenses we'll going to use: 1. Arri-Zeiss Zoom 11-110 S16mm PL Mount 2. Zeiss Compact Zoom CZ.2 28-80 T2.9 We're aware that both are great lenses. The S35 Compact Zoom would demand a Metabones Adapter, but that's no problem at all. I wonder which would you guys pick and WHY? Of course the S35 one is new, and that might be a benefit. Thoughts? Thanks, F
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Hey guys, I'm trying to find my Arri BL 2 a new home and thought some of you may be interested. This camera is very dependable and in great working condition. It has been maintained regularly and we have never had anything but great results with it. If interested, go to to see two (very) short clips from when it was being rented out last month. The package includes: - Arri BL 2 Camera Body -3x 400' Magazines -A 1000' Magazine -Eyepiece Extension -Video Tap -2x Filter Holders -2x Lens Blimp -Sunshade -Vari-speed Variable speed Controller -Handgrip -Battery Pack -Charger -Required Cabling -Individual cases for camera body and magazines Please feel free to contact me with any questions. This camera is a true workhorse and will not disappoint. Check out the ebay listing for photos (my upload-fu is very bad)... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=291061805997 Thanks for looking and have an awesome day! Edit for: Embed-fu also bad.
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Hi, I'm a film student based in London. As part of a project, we've been asked to shoot a 5 minute movie using traditional methods (i.e. film - no digital). I've never shot anything using film before so this should be quite an experience; if not a little daunting. I'd like to try to emulate the style and quality of films from the 1960s. This is what I have in mind: Does anyone know which cameras and stock were likely used in this filming? I'm sure finding a camera from that era shouldn't be too difficult, but I have no idea where to find the stock. Are there sellers of old Kodachrome stock? Many Thanks, Ed
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Hello, I am selling NEW rolls of 16 & 35 mm FUJIFILM that we received early April for a shooting that took place this summer. Since we bought them with a significative discount, we did not have a return option. The following are available for purchase: 17 rolls of 16 mm ETERNA VIVID 160 are available at a unit price of 65 € + Shipping 11 rolls of 35 mm ETERNA VIVID 250D are available at a unit price of 110 € + Shipping These rolls have been stored in a cold and dry place. They can be picked up in Brussels or shipped at your location. A more detailed listing including pictures for these film rolls can be found on Ebay: http://www.befr.ebay.be/itm/NEW-FUJIFILM-35mm-ETERNA-VIVID-250D-122m-400-feet-ARRI-AATON-KODAK-/111182279217?pt=FR_JG_Photo_Camescopes_Cameras&hash=item19e2faf231 http://www.befr.ebay.be/itm/NEW-FUJIFILM-16mm-ETERNA-VIVID-160-122m-400-feet-ARRI-AATON-KODAK-/111182279220?pt=FR_JG_Photo_Camescopes_Cameras&hash=item19e2faf234&_uhb=1 If have any questions, don't hesitate to ask. Rolls can be bought online though Ebay or directly by contacting me. :) Jonathan -
Hello everyone, I thought I'd post this here and see if others with more experience could give me their input on this. I've found an Arri 435 ES (4-perf) camera package for sale that I'm extremely interested in purchasing. Film is something I've sorely wanted to learn for years now and I think this could be a great opportunity. The package is going for $6000 and includes the following: 1 Low Bridge 1 8" balance plate rods 6 400' magazines 1 Ground glass 535 AlB 1V square 1 Mask Arri glow 535/435 1V 1 2:35 ground glass 1 2:35 Arri glow mask 1 1:85/1:37 ground glass 1 1:85/1:37 Arri glow mask 1 1:85 1V ground glass 1 1:86 Arri glow ground glass 1 Heated eyecup: 435 2 step 1 Finder support 535/435/16SR-3 1 Operating handgrip 1 Arriglow module: 435 1 Worklight 1 Remote control, Universal: RCU 1 Shoulder set S-4 435 1 Cushion F/435 w/steadicam 1 Follow focus mech only w/right focus knob, right focus knob ext, prime &zoom gears, short ff ext 1 13.5 fiex shaft w/knob 1 38" fiex shaft w/knob 1 Bridgeplate w/15mm rods 1 6.6 MB-14 matte box set 1 CCD optic module 1 lntergrated video module 4 1 24v plug on module 1 65' extension cable for RCU 1 Finder extender 1 Focus crank 1 Mask set, 18-180mm lenses 1 Flex shaft: grad filters 1 Reflex prevention ring for 10mm Zeiss w/158mm diameter 1 138mm filter ring w/rubber sleeve for Angenieux 25-250 HP w/125mm diameter 1 Studio follow focus FF-3 w/15mm bridge plate 35mm format 2 435 power cables 1 Heater eyepiece cable 1 25' RCU-1 cable-spare
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Hello everyone, I thought I'd post this here and see if others with more experience could give me their input on this. I've found an Arri 435 ES (4-perf) camera package for sale that I'm extremely interested in purchasing. Film is something I've sorely wanted to learn for years now and I think this could be a great opportunity. The package is going for $6000 and includes the following: 1 Low Bridge 1 8" balance plate rods 6 400' magazines 1 Ground glass 535 AlB 1V square 1 Mask Arri glow 535/435 1V 1 2:35 ground glass 1 2:35 Arri glow mask 1 1:85/1:37 ground glass 1 1:85/1:37 Arri glow mask 1 1:85 1V ground glass 1 1:86 Arri glow ground glass 1 Heated eyecup: 435 2 step 1 Finder support 535/435/16SR-3 1 Operating handgrip 1 Arriglow module: 435 1 Worklight 1 Remote control, Universal: RCU 1 Shoulder set S-4 435 1 Cushion F/435 w/steadicam 1 Follow focus mech only w/right focus knob, right focus knob ext, prime &zoom gears, short ff ext 1 13.5 fiex shaft w/knob 1 38" fiex shaft w/knob 1 Bridgeplate w/15mm rods 1 6.6 MB-14 matte box set 1 CCD optic module 1 lntergrated video module 4 1 24v plug on module 1 65' extension cable for RCU 1 Finder extender 1 Focus crank 1 Mask set, 18-180mm lenses 1 Flex shaft: grad filters 1 Reflex prevention ring for 10mm Zeiss w/158mm diameter 1 138mm filter ring w/rubber sleeve for Angenieux 25-250 HP w/125mm diameter 1 Studio follow focus FF-3 w/15mm bridge plate 35mm format 2 435 power cables 1 Heater eyepiece cable 1 25' RCU-1 cable-spare 1 Case-camera 1 case-follow focus 1 case-6.6 MB 3 Case-magazines It comes with everything I would absolutely need minus a lens and some filters. To me it seems like a steal, but I'd like to get 3rd party input. It is worth it going for a 4perf camera? Thanks, Chris
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Hello everyone, I am new to the forum and was hoping that someone on here would be able to assist me in my quest to apply for Panavision's College Internship Program. I have tried contacting Stephanie Lyons at their Hollywood location, however, my attempts have be fruitless. I am currently a Senior at the University of California Irvine and want to learn about their cameras, as well as 35mm film cameras as a whole, preferably from the grunt-work up. I would like to have an old fashioned mentorship-styled environment where a master of the craft can show me the ropes cleaning and lugging around different pieces of equipment, however, I'm not sure how realistic my hopes are. If you have any information about the program or know anyone who does, I will be eternally grateful. -
Sept 15, 2013 I want to shoot my first feature next year. The script is dated thus taking place in the late 50's early 60's. (I will not be the camera person because I rather get an experience cinematoghrapher.) Question: In your opinion, which camera / format would fair best for shooting 50's 60's scenes & night time scenes? Also, which lenses would you recommend? * * Thank you all for sharing your expertise & for your replys * * Tony doowopkid56@yahoo.com
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I have a couple of Arri magazines for sale on eBay. Displacement mags for ARRI 35mm IIC type camera ~ fits most ARRI MOS cameras. They are in excellent working condition ~ never had any problems with jams or scratches. See auction here http://www.ebay.com/itm/231026612284?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Have one more to sell when this auction ends.
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I am the DP in pre-production for a feature being shot in Israel on black and white Infra Red film. I am searching for a lab that would be willing to switch out their standard D96 chemicals for a more fine grain developer. Anyone out there with recommendations of a lab? The only lab I have found willing to comply is Arri Munich, however they are only willing to use d76 and i would like to use a more fine grain developer like Xtol or something of the sort. In addition I am curious if there are any labs that are willing to use chemicals other then Kodak? Please feel free to contact me directly adiva@thenthis.org. -
I am the DP, in pre-production for a 35mm motion picture film being shot on black and white infra red film in Israel. I am trying to find a solution for a video assist to accompany our ARRI 435. We are shooting in almost complete darkness, only with infra red light sources. I am looking for contacts or leads to individuals who may knows how to build a video assist that corresponds with the parameters of the IR stock that we are working with. If anyone has any suggestions or knows of any camera tech wizards I would be thrilled to speak with them. Please contact me directly at adiva@thenthis.org.
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I've just finished documenting the complete strip down of a Bell & Howell 35mm Eyemo: http://cinetinker.blogspot.com.au/ Very similar mechanically to a 16mm 70 series Filmo. These cameras have an uncased spring, so they can be very dangerous to dismantle. Personally I wouldn't recommend inexperienced people doing anything more than removing the front. But I figure if people are going to try it they're better off having some idea of what's inside.
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Kodak Appoints Christian Richter to Film Lab and Studio Relationship Manager ROCHESTER, NY (May 14, 2013) – As part of Kodak’s ongoing efforts to support the motion picture film infrastructure, the company has appointed Christian Richter to the newly created role of film lab and studio relationship manager, effective immediately. Richter will be responsible for developing and managing strategies to optimize the workflow between studios, filmmakers, laboratories and post-production facilities. He will report to Andrew Evenski, Kodak’s president and general manager of the company’s Entertainment Imaging division. “There is a growing concern that the changes occurring in the industry will be detrimental to the motion picture film infrastructure, and we want to alleviate that concern,” says Evenski. “There is a thriving, global lab network and many filmmakers are choosing film. Christian has more than 15 years of extensive, international experience to contribute to this new role. He will liaise with our customers and promote the options for shooting anywhere in the world, utilizing the high-quality film system in place to support those productions.” Since joining Kodak in 1997, Richter has worked solely in the Entertainment Imaging division, fulfilling roles on an international scale. His responsibilities have ranged from managing the business unit’s initiatives for students, film schools and emerging filmmakers in Germany, to general management of Kodak’s Cinelabs in Dubai and Bulgaria. After developing broad international sales experience over several years, he became an integral part of Kodak’s product development and innovation advocacy teams, working with R&D scientists to drive product quality and growth. His business acumen includes a skill set for overseeing people, projects, products and industry partnerships. Richter is currently the business manager for Europe, the Middle East and Africa, a title he’ll maintain as he embarks on his new responsibilities. Previously, he was the Business Development Manager for Western Europe. “I want to make it as easy as possible for filmmakers to shoot on film, regardless of where they are shooting around the globe,” says Richter. “Filmmakers do not have to shy away from using film because of uncertainties around the availability of laboratory services. That infrastructure is in place. At the same time it will be exciting to work with the lab community, ensuring their services are well promoted within the industry.” # About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). -
Hi there, I am currently creating a research project for my final piece at university on the evolution of the cinema camera and how cinematographers deal with the ever changing technology. In particular the transition from 35mm celluloid to digital. I am looking for people who have worked with film stock and digital and wish to answer a set of questions I have prepared. The questions below have been sent out to various D.O.P's and also camera companies such as Arri, RED and Panasonic. During your time in the film industry, what do you believe to be the main changes in the technology used, especially in regards to the shift from celluloid to digital? What do you think the benefits are of digital cameras? Do you feel celluloid is dead? If so, do you feel moving away from celluloid is a good idea? If not, then why do you think this? What do you prefer yourself, celluloid or digital? Please explain your as detailed as possible. When you started out in the industry what camera were you using? How does this compare to what you are using now? Do you feel the digital age of cameras has opened the door to younger filmmakers due to the technology being cheaper? On top of asking D.O.P's themselves, I also want to open these questions up to various forums and find out what the community thinks in regards to celluloid vs digital. If any of you would like to answer the questions above (you dont need to answer all of them if you dont want to) then that would be brilliant and I would be very grateful. Also, if any of you have any other points that you wish to make in regards to the evolution of the cinema camera then please feel free to comment. Thank you for your time. Alun.
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I am in the market for a full set of super speeds. Please PM me if you are interested in selling or have any good leads or a set.
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Hey Im doing lighting test , for a project on infrared film, 35mm, indoor shooting. we're trying a verity of light sources in order to get the right and effective light for this kind of project. I know that mostly infrared used on outdoor shooting, under the open sky, but here, we also want to shoot some indoor night scenes on this reel. just some few facts about this material: the light spectrum we are trying to get is between 720-820 nm (nanometer), which also being called "invisible light", since this wave spectrum aint visible to the seeing eye. thats why we use gel filters on all of our main light sources. till now we used 5K's, Par 64's, 1K's, some lightpad panels, but(!), what im trying to find, is a light source which will speak the same language of the ifrared wave spectrum, and not just some regular cinema classic lights. 1. does anyone here knows, heard, or experienced this kind of situation? 2. can i work with infrared light with diffusions? like we regulary do on set? 3. what is the effect of bounce through white poly board with infrared light? can we bounce regulary like we used too? thnx ^_^
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Hi. You're making a movie with a 60D (1080p FULL HD at 24p) and you want to blowup it to 35mm. What resolution would you use in FinalCut? Full HD (leaving all the hard and expensive work to the LAB)? 2k (resizing the 1080p FULL HD material to 2k size)? OR 4K (resizing the 1080p FULL HD material to 4k size)? Any additional tip will be much appreciated! MR
