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Showing results for tags 'FILM'.
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So the other morning, while driving home from work, I received an unsolicited LinkedIn message notification on my phone...from the new President of Kodak's Motion Picture Entertainment Division, Steve Bellamy. Needless to say, I initially thought this was some sort of prank. But after checking a few things, I realized this was the real deal. We exchanged another e-mail in which he gave me a number that he wanted me to call him at. In short, he struck me as a very polite, easy-going person with a lot of knowledge. He said that since he became president, he's been doing a lot of searching on the internet for filmmakers who are passionate about analog film-making and randomly contacting them. He said he appreciated what he called "well-written" pages I've put up on the web and wanted to hear more about my particular passion for film. I told him how the grain and chemical processes simply make it more of an organic medium, and that the contrast & overall picture still produce a better final product, in my view. More importantly, I mentioned how I am a big film history buff and that many flash-in-pan "film-makers" these days who grab a DSLR, shoot something on digital and post it to Youtube, have little to no sense of film history, much less any sense of pre-visualization. And it shows in the work. To be fair, I did tell him how I am anxious to experiment with some of the more advanced digital technology - namely the Alexa, since I feel it is the best at capturing a film-like image. He agreed with film being a discipline and that there is still no replacement for it. It was interesting to hear about his passion for the medium but admitted that it’s not cheap. However, we both agreed that in comparing it to a digital project, people tend to spend even more for the post-production processes than they would for a properly budgeted analog project. He said that he is all about choice and has nothing against digital. To paraphrase what he said, “If that’s your preferred medium, more power to you.” Lastly, he asked me to put together a 3-5 minute interview of myself and talk about why I love film. He said that he’s getting independent film-makers like myself, as well as people like Christopher Nolan, Steven Spielberg and Quentin Tarantino to do the very same thing. He’s not sure exactly what form it will take just yet (possibly web-based or a documentary format) but it’s something he wants to put together to show just how many people are still passionate about film. So yeah…that was pretty cool and unexpected. :)
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Hi cinema lovers, I've been a lurker on these forms for a while now, and I'm not sure if this is the right place, but but this is my first post! I'm a 3rd year film student at Falmouth University (UK) and I'm directing a short film called Philistine. I'm here to both share with you my kickstarter and receive any valuable information/tips on shooting with film (it's my first time). We'll be shooting on a Bolex H16, using Kodak 16mm Double X Black & White Negative (7222). It's Tungsten 200 and Daylight 250. SYNOPSIS: Cinema projectionist Marcelle works for an independent, arthouse, and old-school cinema. Though, the theatre is forced to close and he’s made redundant; the digital age has no use for disciples of the past. Down on his luck, his fate is bettered after an encounter with a young woman, Anna. His optimism is short-lived, though, and he becomes the victim of a different kind... On the surface Philistine is about a cinema projectionist who loses his job, but deeper down it's a film about film, cinema history, and a respect for the past. My viewpoint is that we, the younger generations, are becoming detached from the history of cinema - which I feel is a bad thing. Although the topic is dramatic, and when written "loses his job" sounds like a cliche student drama, the narrative and stylistic approach is absurd, abstract, playful, comical and shocking. As I'm posting on a cinematography forum comprised of cinema lovers, I assume it may mean something to you when I say that both the writing and directing of Philistine have taken heavy inspiration from the work of the French New Wave. For those that aren't familiar, their stance was particularly anti-Hollywood, and so they would make their films in the most rogue fashion possible; both in terms of narrative and technical approach. This is something I too believe in. I also feel as if many student films are the same (partly down to the use of the same cameras and partly down to their pursuit of replicating formulaic narrative and stylistic hollywood standards) and so with this film, and anything I create in general, I tried to stray as far from the 'norm' as possible. I hope that people see that in the kickstarter. 16MM FILM: The choice to shoot on 16mm was there from (almost) the very beginning. Following from the birth of the concept - old-school celluloid cinema projectionist being ousted by the digital - I knew that it would be hypocritical of me not to shoot on film. It's a film about film and the impact that the easily accessible digital has on it. And so, not only does film LOOK beautiful, it serves the story. I flirted with the thought for a while until I saw a 16mm film that my tutor had made and was promoting. After research I gathered some figures to see if this dream was actually possible; and it is, though I can't do it on my own. What's more, after seeing the 'Kodak deal' go down in February of this year ("Disney, Fox, Paramount, Sony, NBC Universal and Warner Bros all pledge to continue buying filmstock from the company, even as the majority of directors and cinemas choose to go digital"), I feel now more than ever it is important that we, the younger generations, keep film alive. BUDGET: The proposed budget for the kickstarter is £2000. Film costs (stock, camera, development) comes to just over half of that at £1100. Now, film in the digital age is of course an aesthetic choice, and we could easily just use a RED digital camera, but I hope those of you reading do see the reason for and passion behind the use of film for Philistine. The camera rental company and developing lab are extremely enthusiastic about my choice to shoot on film and are really helpful in answering questions and teaching us and taking us through the process. If any of you like the sound of my film and could spare some change towards it we'd be forever grateful; we have a lot of money to make in short amount of time and so every little helps! All feedback is welcome and thanks for your time! KODAK DEAL ARTICLE: http://www.theguardian.com/film/2015/feb/05/film-studios-kodak-deal KICKSTARTER: https://www.kickstarter.com/projects/sophiehurry/philistine-16mm-short-film?ref=video FACEBOOK:https://www.facebook.com/PhilistineFilm/?fref=ts TWITTER: https://twitter.com/PhilistineFilm
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Hey, I am a Film Studies student and hope to make a stop-motion animation as a side project. I was just wondering what DSLR-type sensor you would recommend for the project (have to be under £600) and what software? I'm hoping for a cheaper version of DragonFrame... Well, actually, camera wise I've been looking at the Canon EOS M3 or the Nikon D3300 (which is an SLR). What do you think about either of these or could you think of an alternative? I really appreciate you reading this and if you answer, thank you very much. -
RED One Package for sale with full set of RED primes and variable RED lenses For Sale : Red One Package. Asking : $16,000 Red Camera Body Red Pro 7" LCD : Compact Flash Module (3 x 8GB CF Cards) Red Power Pack (2 batteries 1 charger) 2 x 320GB Red Drives Power Supply Red Cheese Plate Custom Flight Case Red Cradle(hard drive and v-lock battery) LCD Cable 7" Drive Cable 6" Base Production Pack - Front Handle - Bottom Plate - Shoulder Dove Tail - Top Mount - Top Handle - Red QuickPlate - 24" Steel Rods - 16" Steel Rods Prime Lenses (RED) : 18mm, 25mm, 35mm, 50mm, 85mm and 100mm (Includes hard shipping case) Variable Lenses (RED): 18-50mm, 50-150mm ( slot available in Custom Flight Case for transport) Asking : $36,000 (the Price is negotiable within reason) All equipment is in great condition and ready to use. Drives were refitted by red in 2014. I am the original owner of all equipment and it has never been on hired.
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RED One Package for sale with full set of RED primes and variable RED lenses For Sale : Red One Package. Asking : $16,000 Red Camera Body Red Pro 7" LCD : Compact Flash Module (3 x 8GB CF Cards) Red Power Pack (2 batteries 1 charger) 2 x 320GB Red Drives Power Supply Red Cheese Plate Custom Flight Case Red Cradle(hard drive and v-lock battery) LCD Cable 7" Drive Cable 6" Base Production Pack - Front Handle - Bottom Plate - Shoulder Dove Tail - Top Mount - Top Handle - Red QuickPlate - 24" Steel Rods - 16" Steel Rods Prime Lenses (RED) : 18mm, 25mm, 35mm, 50mm, 85mm and 100mm (Includes hard shipping case) Variable Lenses (RED): 18-50mm, 50-150mm ( slot available in Custom Flight Case for transport) Asking : $36,000 (the Price is negotiable within reason) All equipment is in great condition and ready to use. Drives were refitted by red in 2014. I am the original owner of all equipment and it has never been on hired.
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All useful for writing the story, includes many of the latest blockbusters: A ton of movie story structures at https://www.youtube.com/user/clickokDOTcoDOTuk/videos 2015 Academy Award Winner / Nominees at http://www.kalbashir.com/Oscars-2015-Winner-And-Nominees.html 2014 Academy Award Winner / Nominees at http://www.kalbashir.com/Oscars-2014-Winner-And-Nominees.html All Best Films at http://www.kalbashir1.blogspot.com
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Hi, my listing for ARRI 435ES camera set, including magazines and accessories. Price is 3990 euro https://www.kitmondo.com/used-arriflex-435es-for-sale-2/ref608356
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...I've been shooting Tri-X since my student days in 1992. I love it's qualities and nothing quite compares to it. I'm beginning to wonder just how long Kodak will continue to produce this B&W reversal stock. Should I be bulk buying it or am I just a bit paranoid after 'losing' K40, 64T and 100D ???
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ARRIFLEX 16SR 3A £2,500 GBP (ex VAT) Condition: Used Warranty: 3 Months Op hours- Various ARRI SR3A Camera Body Ground Glass SR MB17 ( B) 4" Matte Box + 4x4 trays French Flag Support Set of Mattes MB17 Top Flag SR LWS-2 Lightweight Support Donut 87mm 80mm insert ring Extension Viewfinder (Standard) SR3 Camera Battery Adaptor 24v/12v On-Board Adaptor Shutter Key (Fitted) Sr3 IVS PAL SR3 400'/122m Magazine x3 If you require any further information, please email me at Casey@esbroadcast.com.
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ARRIFLEX D-21 £2,250 GBP (ex VAT) Condition: Used Warranty: 3 Months ARRI D-21 Camera Body D-21 Viewfinder Ground Glass (.1.78 / 1.33.) Format Glow Mask (.1.78.) Format D-21 Super Wide Eyepiece Rubber Eyecup 24v On-Board Splitter (Fitted) FE-3 Extension Eyepiece D-21 Carry Handle Please email me if you require any further information. Casey@esbroadcast.com
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Codex CDX-3010 Kit £3,000 GBP (ex VAT) Condition: Used Warranty: 3 Months Case Containing: Codex Onboard Recorder CDX-3010 Onboard Control Panel CDX-P065 Codex Recorder Handle CDX-P064 Control Panel Fixing Plate 6-6pin Panel Control Cable Long 5p Lemo - 3p RS Power Cable Dual Mini BNC Loom 4p XLR - 5p LEMO Battery Power Cable 4 x Codex M Flash Pack (256gb) CDX-P300 Please contact me on Casey@esbroadcast.com if you require any further information.
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Used ARRI Alexa M 4:3 in stock. Excellent condition. £19,500 GBP (ex VAT) Condition: Used Warranty: 6 Months Op hours- 1000 Case Containing: ARRI Alexa M Camera Head ARRI Alexa M Body BAB-G (Gold Mount Battery Adapter) Bundle Accs Set for Alexa M Center Camera Handle (CCH-1) Handle Extension Bracket (HEB-2) CCH-2 Alexa M (Head) Camera Handle AMC-1 Alexa M Cage -Consisting Of: Side Bracket Bottom Plate 15mm LW Bar Bracket MEDIA M Handle Syst. - Consisting Of: Side Handle (15mm Bars Fitted) Top Plate - Small Bottom Plate SD Card (ASD-1) 12v 2pin Lemo - 4pin XLR BP8 Bridge Plate ( Short ) Balance Plate 19mm / 440mm Bar (Long) 19mm / 240mm Bar (Short) 15mm Lightweight Bar - Short 240mm 24v Camera / Battery Cable 2m Lightweight SMPTE Fibre Cable Sony 64gb SxS Card Sony 64gb SxS Card Sony 64gb SxS Card 20m SMPTE Fibre Cable (9mm Dia.) Please contact me at Casey@esbroadcast.com if you require any further information.
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Hey everyone, I might shoot a short movie in New Orleans early next year and I want to shoot on film, super 16 or 2 perf 35 mm, and I saw that Cineworks over there had done the film dailies on 12 Years A Slave, Oldboy, etc, but when I saw no new film projects since then in their credits, I sort of wondered if they shut down their film lab and only do digital. I thought I was maybe pessimistic but one of the guys over there just told me they did shut down and only do digital because of lack of work. Great, I saw that Fotokem has a New Orleans office/lab, it says on their website that they do film dailies, all that, but it doesn't say anything about their NOLA based facility, I just sent them an email, but does anyone know if Fotokem NOLA does film dailies? If not, is there a film lab ANYWHERE in Louisiana or close to New Orleans or Baton Rouge, in that vicinity? If not, that would be a goddam shame, and I'm not really comfortable with shipping the film too far away or whatever since this is my first major thing, first time on film, it's important for me to shoot on film but I've been keeping in mind the Alexa, I kinda dread having to wait for a few days to get the film back, in case there's any f**** ups. Thanks !
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Hey I'm Xoaher currently based in Prague. This is my reel from last year school works. Please feel free to critic and let me know how can I improve. Thank you Xoaher https://vimeo.com/141572957
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Hi, first time posting here. Has anyone tried to shoot 2x anamorphic lenses with 16mm film (let's say kodak 7219 stock) and how did it go? From what I knew, 16mm has 1.37:1 ratio. So use with 2x anamorphic lenses it's gonna be 2.74:1 which wider than 2.40:1. So I have more room to readjust a frame in post right? What about the image quality, does it look good? I did a research online but I haven't seen any decent one yet. FYI: I'm planing to shoot on Arri SR-II, Kodak 7219 and Kowa Prominar anamorphic prime set. Thanks in advance. -
Hello everyone, I have researched online and can't come to any solid conclusions about how sound design and/or mixing is done when you're working optically. For instance: I'm making a movie and seriously considering taking it the full photochemical route, ie. shooting on 35mm scope, processing the film at Fotokem, getting a work print made (no DI), cutting the film on a flatbed, conforming the negative, timing the answer print, and striking a release print. The idea is to keep my movie completely off a computer. But the thing I can't seem to wrap my brain around is the audio part of the process. How do I sync the separately and digitally recorded dialog to my work print? How do I mix in the music I want? Most importantly, the sound effects? I tend to have substantial sound design in my films, sometimes 150 tracks or more, and spend around 80% of my post production process on sound. Is there a way to do this optically? Should I just go with a DI? I hear a lot of terms like sepmag, and 35 sound mag, but I'm not really sure what they are or how you edit with them. Thanks in advance for your help. Colin
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In your opinion... what's the atmosphere of a film?
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Hello Everyone, I am a T.A. in a cinematography class at Arizona State and I convinced my teacher to do a workshop with a 16mm camera. Being how new our Film School is we have no film cameras, only digital, so we are renting an SRIII to show the class and possibly shoot some stuff. My professor and I wanted to show everyone what it's like to shoot on film and how careful you have to be with exposure, how to use light meters, etc., and implementing these structures for when you shoot on digital. Rather than the typical status quo of students just blindly shooting and guessing on exposure. I was reaching out to the cinematography community for help, if anyone has any short ends or exposed super 16 film we could use to help the students with (show how to load the magazines, etc.) that would be amazing. Kind of a long shot to ask on here but I thought it wouldn't hurt. Thanks, Danner Gardner -
Hey Guys, Firstly, just wanted to say hey as this is my first post on here! Right, basically I received my Krasnogorsk K-3 yesterday from an ebay seller. Whilst the description did not note anything regarding my issue, i found as I looked through the viewfinder that there appears to be a fair few marks/hair/dust etc. Now, is this something that will affect my picture at all, or is it something thats purely on the glass of the view finder? ( I can learn to live with it if so) Failing that, how easy is it to take apart and clean said effected area, and which tools would be best for the job? Sorry i couldn't really supply any decent photos as the viewfinder is terribly dim and I can barely see through it, let alone my poor iPhone camera, but you might get the jist! Thanks in advance, Nick
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For someone that is not going to film school (if film schools even TEACH 35mm anymore), or who isn't planning on film school and just wants the basics of operating a 35 mm motion picture camera, what (if any) options are there to learn? What resources are there and what do you recommend for learning once the resources have been located? This obviously is presuming that the person already has access to such a camera. (Which in my case I do not, but hope to someday; I have films I'd like to make!) I am a photography student interested in making the natural graduation from still photography (digital AND film), to motion picture film. Yes I realize film is almost unused anymore and takes a high learning curve (or so I've gathered), but there's a mystique and an attraction to it I just cannot deny! Questions that arise for me are: how similar is it to a regular 35 mm still film camera? I'm sure motion picture cameras have F-stop controls of course, but what about shutter speeds? I assume photography "stuff" all applies, such as dynamic and detail ranges, inverse square law, keeping highlights and shadows at an even balance, Sunny 16 Rule, composition (a huge one for ANY type of photographer), decisive moment, blah blah all that BS? LOL So hit me up with some feedback, everyone! :) -
I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,300. If you are interested please email me at: adam@adamcohendp.com
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This tutorial will teach you various techniques to sync audio and video in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials.
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This simple tutorial will teach you how to use markers to edit to a beat of a song in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials. If you have any questions feel free to ask.
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This quick tutorial will teach you a very simple technique to batch export multiple clips from Adobe Premiere Pro and CC. If you have any questions feel free to ask. -
Hi, I recently had an opportunity to shoot on film for the first time in my life (crazy, I know) and a question came up which left me thinking.. Apologies as it's probably a very noob question: When I shoot slow/fast motion on digital, I change the shutter speed to maintain the same motion blur as for the 'normal' speed, i.e. shooting on 25p, 1/50 'normally' and then do 50p for instance, I shoot at 1/100 to have the same amount motion blur. Assuming you want the same motion blur, how would you do this shooting on film? I am right in understanding that 180 degree shutter angle will remain 180 regardless of what frame rate you shoot? I.e. shooting 25fps and 50fps means that the shutter turns twice as fast to maintain 180 degree shutter angle? I hadn't noticed but was told that Red has an option for shutter to have either a shutter speed (1/xxxx) or angle (degrees), does this mean if you want to shoot everything at 180 degrees, you don't have to keep changing the angle for different fps? But surely, even if you can capture everything at 180 degrees, in playback, there will be variations of motion blur as the angle was relative to the fps? I.e. 25fps has 180 degrees and 50p has 180 degrees, but compared to each other, they don't match? I would've automatically calculated the difference between the degrees when under/overcranking and changed the shutter accordingly, but I was told by two working AC's that this is incorrect... If anyone can shed any light or knows of any resource on this, I'd really appreciate it! Thanks, PJ
