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Showing results for tags 'FILM'.
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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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Hello cinematographers, I'm looking around for creative projects or competitions to do on the weekend. The vimeo weekend challenge is a great exercise but I'm looking for something with more direction and maybe a prize pool. Post your suggestions or any competitions you know of.
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Located in Los Angeles Vintage - 16 MM Arriflex film camera with footage counter Build in West Germany - BL 54085 Hand mount Mounted with Angenieux lens f. 9.5 - 95 mm zoom 1:22 no. 1368423 Built in France. 1 - 400 ft film magazine 1 - follow focus 1 - Matte box 1 - Crystalok Camera speed controller, model CRBL - 5 from Cinema Products, LA Foam fitted Anvil Case 27" by 22" by 10" Camera is used and operational the last time used. Personal camera of Emmy award winning cinematographer, Robert Collins Sold as is and without any expressed warranties. $1500.00 Available for viewing nancybevins@gmail.com Several Photos at Craiglist listing: http://losangeles.craigslist.org/wst/pho/4323599700.html
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Hey everyone, I will be shooting my first show on 35mm film this coming April and I really want to put Kodak 5219 to the test in terms of grain control and contrast. Please bear with me for I've only shot 7222 and 7266. Can anyone tell me the effects that these variables create together in terms of grain, contrast, and saturation? Perhaps how this affects the characteristic curve? 1. Over-exposing and pulling 2. Over-exposing and printing down 3. Under-exposing and pushing 4. Under-exposing and printing up 5. Over-exposing, pulling, and bleach-bypassing My goal is to differentiate between different timelines of the film. Flashbacks are as the director said "dream-like" and he immediately liked my recommendation of having low grain, glooming highlights, and high saturation. Can this be achieved with #5 on the list? I am very open to using glimmer glass or nets on the rear element. I've heard that when skipping the bleach, it is recommended to change a 7:1 ratio to a 3:1 ratio due to the contrast that it brings. This is for my thesis film at my school and I think it is the perfect opportunity to experiment on film! I do not want to be experimenting on set, but I do want to do a camera test at the prep. As always, thank you for taking the time to respond. -Jeremy
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I am selling 15 rolls of 16mm Kodak Vision3 200T 7213. I got these directly from Kodak 3 years ago. They are factory sealed and have been in a humidity-controlled dedicated film fridge for that entire time. I would love to get $100/roll for them and sell all of them at once, but I am willing to negotiate if you are interested and even more willing to negotiate if your a student. Captain Phillips, Beasts of the Southern WIld and Hurt Locker are just a few great films in the last few years shot on the robust format of super16 :) Nathan
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hey all, posibility of traveling to Haiti with small crew by the end of the month to do some doc style/ live music filming. Was wondering if anyone had done any work or had speant any amount of time in haiti or filming in a similar country. Any crew support? security & health concerns, things in general to watch out for.... anything will help Thanks in advance!!
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Hello all, This is my first post to the forum and I'm glad to be here. I am an undergrad cinematography major and I will be shooting my first show on 35mm. Naturally, a gear head will be best for our studio work, but I have only worked as an assistant with the equipment. A few operators and DoPs have told me that tracing a circle on the wall with a laser pointer is a good way to start out. Does anyone have any recommendations on how I can practice? I'll have just the prep day and the test shoot day to figure out the muscle memory. (Unless I should just settle with a fluid head?) Thanks for your time in advance, -Jeremy
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Hi folks! I don't know If I'm in the right forum for this, but I need some help to find a specific sort of lighting filter. I'm looking for a filter that diffuses the light but doesn't add that white color, more like a "clear translucent" / "non-white" frost / diffusion film. Rosco has got a lot of different filters, for example: E-Colour #216: White Diffusion E-Colour #220: White Frost E-Colour #480: Full Atlantic Frost E-Colour #253: Hanover Frost E-Colour #129: Heavy Frost etc. I've made two comparison pics in ps so it would be easier to explain, notice how the second example diffuses equally as much but doesn't add the white color to it. For example (#1), this is a white frost film: ...a this example (#2) is a "non-white" frost film: I don't know if such a diffusion film exist, but if you happen to know any please let me know, I would really appreciate it! Best regards /Patrik -
Hello everyone! Sorry for reposting this, but the first time I did it for some reason there was no title. Alas! So, I love reading books about film, media, art and the motion picture industry in general. I'm looking for recommendations on new reading material for the future. So, if you have a favorite book or know of any essentials that I should read, let me know! I'm sure there are dozens of authors and countless pieces of work that would be valuable and pertinent to my attempts in always trying to further educate myself as a filmmaker. Books I've read that I really enjoyed include: Final Cut - Steven Bach Poetics of Cinema - David Bordwell The Way Hollywood Tells It - David Bordwell On Directing Film - David Mamet Ways of Seeing - John Berger and my personal favorite... Devotional Cinema - Nathaniel Dorsky All of these books gave me great insight into many different aspects concerning motion picture production and flim/media theory. In ways these books changed the enitre way I perceive reality and the world, and how closely this coincides with filmmaking. In many ways they're synonymous. Motion pictures are merely captured moments of the whole experience. But yes, I would greatly appreciate any and all recommendations. I'm always eager to be turned on to something new, thought-provoking and/or technically beneficial. I also recently ordered the ASC Manual 10th Edition. I thought it was about time I finally got it. So if you were going to suggest that, maybe think of another one. Please? Awesome! Well.... Thank you and good morrow!
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Hi, here are some of my shorts. This one was just me testing the Canon 550D, but I think that it turned out OK considering it was a test and my 2nd short: http://www.youtube.com/watch?v=WG1L6CmeSAE This one was an assignment for a workshop I attended (my 4th short): http://www.youtube.com/watch?v=qYpSasiC474 This one is just the first scene of a longer movie that will never reach the internet (this is my favorite one): And finally another one on which I did half of the camera work and I also edited, did coloring and VFX on it: http://vimeo.com/74527145 I'd like to hear your oppinion on these shorts, if you have any tips feel free to post them. :)
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Good evenining to everyone, i'm writing this topic because I need help with a project for university. First of all, sorry if this is not the right place to ask for help! Here's the exercise: We have to create a movie, within various movies. We need to choose around 10 films and make them work together, through cutting, creating a whole new narrative. It's not a "mashup" or "remix" movie, it's a movie created by various movies where they combine together in order to get a new narrative and make sense through the rules of classic cinema cutting I tried to search Youtube and Vimeo for examples but all I can find is "mashups" within the best movies of this year or previous ones.. I'm sorry, English is not my native language, but I think I expressed myself correctly! Thank you all, I hope somebody replies me! -
Good evenining to everyone, i'm writing this topic because I need help with a project for university. First of all, sorry if this is not the right place to ask for help! Here's the exercise: We have to create a movie, within various movies. We need to choose around 10 films and make them work together, through cutting, creating a whole new narrative. It's not a "mashup" or "remix" movie, it's a movie created by various movies where they combine together in order to get a new narrative and make sense through the rules of classic cinema cutting I tried to search Youtube and Vimeo for examples but all I can find is "mashups" within the best movies of this year or previous ones.. I'm sorry, English is not my native language, but I think I expressed myself correctly! Thank you all, I hope somebody replies me!
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As I understand it, most big-budget feature movies record on film as opposed to digital; the common claim being that film provides a much more cinematic image, etc. Does anyone think that we'll come to a point when digital cameras are able to produce an image, indistinguishable from film - and that cinematographers will choose digital over film due to artistic choices instead of being led by financial considerations?
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Hi I have been trying to research the best places to get my film 16mm stock developed (UK) and then transferred into digital format. I found a company called idailies Has anyone had any dealings with them? Would love to know if people have used them and what costs where involved Anyone have any footage I can see that they processed would be a treat too many thanks David
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So, after surfing around the forums and googling, etc. I have sparked up some questions I have about cameras and such. I was reading the Catching Fire thread where Jo Willems and Dave Thompson have actually posted, which is downright awesome, but while reading some of their responses, I found myself getting a little lost. I'm 19 and have been shooting pictures (not much video) for about 5-6 years now and have picked up my fair share of knowledge on my own, and I've never had any "formal training", if we can put it that way. Anyways, I of course know all of the basics about equipment (or I believe I do) and composition and such, but I read articles of DP's being interviewed and then the Jo Willems forum post and I'm so confused sometimes. For example, a bunch of them keep talking about E, C and G lenses and I'm not sure what that translates to. Also I was wondering some stuff about anamorphic, and aspect ratios. I know about the common ones like 16:9 and such, but I've seen them post about 2.39:1, etc. I'm really trying to get this whole cinematographer thing to work after college, with moving to NY and what not, but I feel overwhelmed at times thinking about all the things I have yet to learn! Thanks in advance for any responses, everything is appreciated. -
Producers Keanu Reeves and Justin Szlasa have chosen to create a film element of their feature documentary Side by Side on KODAK VISION3 Color Digital Intermediate Film 2254. This intermediate post production step will also provide the producers with a master for making 35mm film prints. The 2254 will then be archived at the Academy Film Archive, which is providing substantial and instrumental support to preserve this culturally significant exploration into the evolution of digital and film formats. Side by Side recently aired on PBS after a successful run on the 2012 festival circuit, and a limited release in theaters. The Academy is also planning future screenings of the film. “We took a deep dive into the evolution of filmmaking technology and spoke to hundreds of artists and filmmakers to make this documentary,” says Reeves. “What we took away is that, right now, film is the only archival medium that is truly proven. We'd like Side by Side to be available for future generations, and we think creating film elements is the best way to do that.” KODAK VISION3 2254 Film faithfully retains nuances in colors, contrast and other characteristics of digitally created images, and offers exceptional dye stability, allowing for extended asset life. Technicolor New York is providing the transfer services, and the stock will be used as a master for generating a few high-quality release prints for upcoming 35mm film screenings of the documentary. By choosing this postproduction path, Side by Side will be preserved for more than a century. Side by Side investigates the history, process and workflow of both digital and film creation. The movie, directed by Christopher Kenneally, shows what artists and filmmakers have been able to accomplish with both film and digital and how their needs and innovations have helped push filmmaking in new directions. Interviews with directors, cinematographers, colorists, scientists, engineers and artists reveal their experiences and feelings about working with film and digital — where we are now, how we got here and what the future may bring. “At the end of the day, film is still the most stable and reliable preservation medium,” adds Andrew Evenski, President, Entertainment & Commercial Film, Kodak. “Only film offers a standardized, human-readable format that has been in existence for well over a century, and methods for retrieving content from a 35mm frame will exist well into the future. When content is preserved on film, no re-mastering is necessary.”- 2 replies
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£449 ARRIFLEX 16S + 2 MAGAZINES (8V) + ORIGINAL ARRIFLEX MATTEBOX + ORIGINAL 8V MOTOR + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in good condition. Magazines have some signs of use and acrylic pieces (on footage meter) cracked, but does not affect performance. Serial Number: 6587 £499 ARRIFLEX 16S + 2 MAGAZINES (1 12V, 1 8V) + ORIGINAL ARRIFLEX MATTEBOX + TOBIN TCS TM23 + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in very good condition. Magazines have some signs of use and both acrylic piece (on footage meter) cracked, but does not affect performance. Serial Number: 8467 PLEASE CHECK DOCS ATTACHED WITH PICTURES. CAN SHIP WORLDWIDE. WOULD LOVE TO KEEP THEM, BUT NEED THE MONEY.
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This is my IB Film Studies final group project. I wrote, directed, produced and editted it. Please let me know what you like about it and what I can do better next time I make a movie. Thanks! http://www.youtube.com/watch?v=a0iQVVK3q8g -
A friend of mine recently contacted me to say he had been rebuffed in trying to place a large individual order of film directly with Kodak UK. Like a number of individuals he has bought direct from Kodak UK for years but now Kodak UK has told him he has to go through a UK reseller and this came with no warning. Does anyone here know if Kodak UK's policy on selling direct for large individual orders of either 8 or 16 mm within the UK has changed and are they only going to sell via resellers even if the individual order is a large bulk order? If this is what Kodak is doing then is this a useful way to support the market? Buying direct from Kodak means a good deal on pricing through bulk buying, but going through a reseller at the retail to semi professional end of the market means individuals with the get up and go to buy large amounts of film may now have to pay more. Now don't get me wrong its good to support UK resellers and if Kodak UK is seeking to support UK resellers and the retail to semi professional market for film in the UK that is to be commended but if Kodak UK is now making every individual go through a reseller that doesn't actually grow the market for film within the UK. As individuals we all have finite means and if you and I have to pay more then we will end up ordering less stock i.e. at the end of the day Kodak will make less money. The other thing is since the demise of Stanleys here in London resellers here are not geared up for large orders such as what my friend was after unless you go up the chain to the likes of Panavision UK (and lets face it they are very, very unlikely to bother themselves with 8mm if you are a 8 mm shooter). We have some good activist, retail based resellers in the UK (bordering on heroic at times given the situation these past few years) but there is not the means nor the will across the market to grow it across the UK i.e. mostly you see a few rolls sitting by themselves on a shelf and no attempt to market them. Do people here have any ideas or suggestions as to how individuals could place large or bulk orders for film here in the UK or Europe if Kodak UK has changed its policy e.g. would it be possible to buy direct from Kodak in the US or Kodak elsewhere if the order was large enough? -
Hey folks! I am about to fly for a vacation and I am planning to take a significant amount of Super-8 stock film with me as well as the camera. Afaic there is no regulations against having film or film cameras on board,but my concern is the XRAY check in the airport. Can it affect the film (500ASA and 200ASA) ? Any way around it or am I worrying too much? Thanks a lot! :)
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Hey folks, Slightly urgent issue here. I've just loaded an SR3 magazine and when I close the first door the film advance wheel (not sure what it's called) is very hard to wind. The other two I loaded spooled the film out quite easily. Should there be a lot of stick when winding the film out? Cheers for the help.
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Hey gang, I've got a roll of expired Kodak 500T EXR 7296 in my fridge here that I'd love to shoot. Trouble is it's a) pretty freaking old and b) probably hasn't been kept in a cool, dry place for a large part of its life. This particular film was discontinued in 1995 but could have been made anytime between then and 1989. Naturally there are too many variables to really know how it'll look but is there anything I should keep in mind if I want to shoot it? Rate it faster? Slower? Any thoughts would be great. Cheers, James.
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(BYDGOSZCZ, Poland) - Kodak is hosting back-to-back conversations with renowned cinematographers Sean Bobbitt, BSC and Bruno Delbonnel, ASC, AFC at the 21st edition of Camerimage, the international film festival of cinematography, on November 21 at 7:00 (CMT) in the Opera Nova, first floor seminar room. Both Bobbitt and Delbonnel have films competing in the main competition: Steve McQueen's 12 Years a Slave and the Coen brothers' Inside Lewelyn Davis, respectively. Each discussion will be followed by an audience Q&A. Bobbitt, a BAFTA and Emmy® nominee, recently shot Killing the Messenger, The Place Beyond the Pines, 12 Years a Slave, Shame and Hunger. The latter three of those movies were done with McQueen. Delbonnel collaborated with director Jean-Pierre Jeunet on Amelie and A Very Long Engagement, and earned Oscar® nominations for both films. His credits include Dark Shadows, Harry Potter and the Half-Blood Prince, The Cat's Meow, Infamous and Across the Universe, which garnered the Silver Frog at Camerimage in 2007. "Camerimage is a wonderful opportunity for the cinematography community to share ideas and philosophies, as well as celebrate the art itself," says Andrew Evenski, president of Kodak's Entertainment Imaging business. "We are proud to be part of the 20-plus year history of this unique festival." This year's festival opens November 16 with a screening of Saving Mr. Banks which was photographed by John Schwartzman, ASC on Kodak film. For updates on what is happening at the festival, follow Kodak on Facebook and Twitter. For more information about the festival, visit http://www.camerimage.pl, and for more information about Kodak's motion picture films, visit www.kodak.com/go/motion. (Note: All participants are subject to availability) # # # 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. Media Contacts: ignite strategic communications Sally Christgau: direct 415.238.2254 / sally@ignite.bz Lisa Muldowney: direct 760.212.4130 / lisa@ignite.bz
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Hello community, I am extatic to be a part of this forum. I am a recent gradute with a Bachelors of Science in Communications Technology consentration in Video Production from the New England School of Communications. I now reside in Las Vegas and have been looking into seeking a higher education. A few programs I have considered in my search are Bachelors in Film and Masters of Fine Arts in Creative Writing to name a few. I have several goals I wish to achieve in my life time in the film industry, which include being a cineamtographer and writer to name a few. I am very very interested in furthering my education but want to make sure i get the proper degree that will help me get a job and not just look good on my resume. Can someone please assits me with some advice on this matter, and any degrees or programs that you know of that will be beneficial for the job market of the future. Andrew McQuinn Cinematographer - Writer - Director - Editor -
In anticipation of World Day for Audiovisual Heritage, filmadvocacy.org posted the following page: http://www.filmadvocacy.org/2013/10/25/unesco-world-day-for-audiovisual-heritage-choices-rights/ on Friday. Some interesting information in there, here is a quote from the page: "It is of the utmost importance that filmmakers around the world continue to have the ability to choose the mediums and technologies that best support the preservation of their works into the future. Well-tested and proven technologies that facilitate this goal must continue to remain available. UNESCO World Day for Audiovisual Heritage on October 27th, 2013 is an opportune time to highlight the critical importance of maintaining choice in how audiovisual works are preserved and presented, framed in terms relevant to the artistic rights of filmmakers. Article 19 of the United Nations Universal Declaration of Human Rights 1948 guarantees the Right to Freedom of Expression for all and underpins the right of filmmakers to choose the mediums by which they communicate their ideas through their works. This extends from production and postproduction, through exhibition and into preservation. Article 19 of the United Nations Universal Declaration of Human Rights 1948 Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers. It follows that attempts to limit choice of medium, to restrict diversity, and to narrow options in this area are not only culturally damaging and unjust – they contravene fundamental human rights." The above is just a part, you should read the whole page and the associated links before forming an opinion.
