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Found 5 results

  1. Does anyone use the many animated transitions that come included with editing software in their moneymaking work? There are dozens of explosions, confetti bursts, peels, wipes, smears, shears, rolls, and flips in my system and I can buy hundreds more online if I want. But I'm pretty much a dissolve guy with the very occasional dip to white or black. Am I just boring and missing opportunities to make my work better? Are any of these transitions useful in ways that I'm not thinking of for enhancing serious documentary or narrative work?
  2. I heard from a little birdie that Kodak film cement has recently been discontinued? Does anyone know if this is real and can anyone confirm this? I guess this means the end of negative cutting and cement splicing huh... Unless there is another company that makes film cement that I'm unaware of?
  3. Any advice on the structure of a reel? Is it best to lump footage from one project next to each other or sprinkle it throughout? I have heard little tips like start out with a shot of a beautiful girl to show you know how to make an actress look good, etc. Any other good rules of thumb? Thanks guys, Joshua Jones
  4. Hi, I posted last night on here about buying cheap Double 8MM film. I've discovered I can buy 100FT of Double 8MM film for around £30, give or take a few quid. Here's my dilemma, most 8MM film cameras, including mine, only have a capacity for 25FT of film. Now, could I cut this down? Like cut it into 4 sections and put it onto 4 separate 25ft spools? What lighting would I need to do this in? Complete darkness? Subdued lighting? I'm almost certain I can cut it down, I just don't know about lighting conditions. Thanks, Andrew.
  5. Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (uh, yeah, ok), I want to shoot one of the three acts on film. The story lends itself to this as we need a different look for each act. I also want to be able to say "we shot on film" not only because it's an interesting talking point, but also because before long I think it won't be possible. What I need to know is this: What would you advise as the cheapest solution and workflow for shooting on Super 16? 35mm is out, naturally, due to cost. I like the look of super 16 and it's easy to find lenses in the NYC area. Back in 2001 when I shot my first short the negatives were processed, given a one light with time code and we edited in AVID. Then the negative was cut AB style and we bypassed creating a positive (because I was out of money) and made a 35mm print from the AB rolls. (For a feature we clearly would not have been able to skip the positive step) It is now my understanding that traditional negative cutting is almost never used today. ??? The people involved with this planned film are almost 100% RED and 5D people and as you can imagine, mostly low low budgeters. Those that have shot on film were not in any way involved with post. So I go to you for ideas! I hear things like, "It's too expensive to scan all that negative and color correct it." So how about photo chemically, like it used to be done? "No that's too expensive too." Etc. etc. Thanks for your help.
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