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Showing results for tags 'celluloid'.
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Projected film's dark side
chauncey alan posted a topic in General DiscussionDoes anyone know of any research of how projected film and its inherent dark "frames" affect our perception of the story? I heard murch talking a bit about it but havent been able to find anything... (If clarification is necessary : Double shutter required to project 24 fps film thus our brains through persistence of vision do not include, but are subjected to moments of darkness)
Technicolor and Cinelab tie up. (London)
Prashantt Rai posted a topic in General Discussion"The number of ads shot on film and processed at Cinelab doubled in 2018 to around 350, and there was an increase in pop promos to 50-plus, many shot on Super 8 and Super 16 as well as 35mm." https://www.broadcastnow.co.uk/tech/film-stages-digital-fightback/5135915.article#.XEHdhn_xPh0.twitter So film is far from dead.
Just completed post on my first feature, "The Eastsider" (www.theeastsidermovie.com), a comedy/drama set in suburban Detroit. Shot it on Kodak 7222 with the Arri SR3, an amazing camera. Nothing will ever beat the look of celluloid. Here is the trailer (contains coarse language): I'm putting this thread in the "in production" section, since I don't even have a festival premiere date yet (not sure if this thread belongs elsewhere).
Philistine - My 16mm Short Film
Ferg Worrall posted a topic in General DiscussionHi 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
Celluloid (a love story) my Super 8 short film
Hunter O'Shea posted a topic in Super-8I made this short film for Valetines day and I thought I would share it with the cinematography.com community! Photographed with 8mm, 120, polaroid 600, and 35mm film. a portrait by Hunter O'Shea Thanks for the inspiration my friends!