Search the Community

Hey, Ive got about 4000' of old fuji that I am planning on shooting a short on. Ive had it for about 6 years in my fridge. its half Eterna 250T 8553 and half Eterna 250D 8546. I just got the snip test back from fotokem and it looks like my layers are between .25 (red and green) and .70 (blue) off from what they should be. Im wondering if, for instance, I could add a yellow filter to my lens when I shoot to make the overall shift of my blue channel get back more in line with the other channels? Does it work that simply, or am I missing something. My thinking goes that if I add 1 stop of yellow to the overall image, then that would put my blue channel at roughly .20 over where it needs to be, and then if I over expose by a stop then that will help the overall quality of the image (though it will still be grainier than normal and a little funky in the colors. Is this reasoning sound?

I recently purchased the expired Kodak Film Stock listed below and would like any suggestions on the best F-Stops for exposure. I plan to telecine to 1080p or 2K. Will be using a K-3 16mm camera. 7246-250D 7274-200T 7279-500T 7289-800T 7298-500T Thanks Nate

Hey everyone, Despite all the benefits of growing up in the digital age, I hate that I missed out on the era of film. What are a clapper/loaders particular duties on a set? What does one do for labeling spent reels? How are spent reels stored? Are reels loaded with film ahead of time? What are the dutyseparations between them and the ACs?

Looking to buy Arri SR3 or Arri 416. Anyone know where I can find either? Thanks

1 x Arri 416 Plus HS body (Ran Film One Roll Of Film For Testing) 1 x Arri 416 Plus non HS body used. 3 x 416 HS magazines (2 with time code modules) 3 x OBB-2 on board batteries and charger; various handles and 1.78 SAFE screens and manual. a box full of free super 16mm film to play with. All flight cases to house it in. Selling as a complete lot only. Please make an offer at sales@broadcastsolutions.com

Is there on the market some sort of film dispenser, allowing us to keep large spools of 2000' film stock, and transfer lengths of 100 ft on a smaller spool for shooting? Occasionally I see good deals on larger film cans but my camera only use 100 ft spools so I was wondering if there's a way I could buy these large reels, and conveniently transfer on 100ft spools. sv

Colorlab and Kodak are having a film workshop on October 26th and 27th in Rockville, MD. Randy Tack, cinematographer and lead imaging instructor for Eastman Kodak, will be leading the workshop. Topics covered include 16mm and 35mm cinematography and the motion picture film workflow. Participants will be shooting and screening dailies both on film and digitally. Please pass on the information to anyone you think may be interested. It's FREE, but spots are limited and filling up fast! For more information or to register, go to: http://www.colorlab.com/workshop.html

Hi Everyone, I have a quick question in regards to shooting 16mm as I have pretty much no experience doing it, though it's something I wouldn't mind trying even if it cost some $$$. I picked up an old Keystone A-12 at an estate sale for $20 and was having trouble finding any information on it. Specifically, was wondering if it took single or double perf film. From my eyes it looks to be single perf, as I can only see sprockets on one side of the guide reel, but just wanted confirmation from those more experienced in this. Chris

Hey all, I have an Aaton Aminima Super 16mm camera package up for sale. It's in excellent condition and was recently serviced at Abelcine. I'm currently traveling but if anyone is interested I can put together some photos and reference videos when I get home. Here's what's included: - Aaton Aminima - 3x 200' mags - 3x daylight spools - Onboard Aaton side battery - Battery charger - Video tap - Wooden handgrip w/ lemo connector - 15mm rods - Carrying case - I also have a roll of 250D and 50D that I'll toss in as well :) Asking for $5,000 but open to offers. The camera is located in SLC, Utah. Will accept PayPal. Please feel free to reach out with any questions. pendleton.tanner@gmail.com 978-340-2012

Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.

Hello, this is my very first post on this forum so first of all thank you all for having some time to read and answer this question. I'm going to shoot a project on S16 (arri 416 plus) next month and I don't have nearly the same experience with film than digital so I'm sorry if this sounds really newbie. Basically I'd like to know what's the real and usable dynamic range of kodak Vision3 and all the elements that affects it (print, scan, etc). I Research on this forum, internet and on Kodak's website and the numbers change considerably. Kodak says it's about 10-11 stops, then I read that the official number is 14 (this is hard to believe) and some friends told me it's about 7 stops (-3, +4). Also I wanted to know if the print and the scan are really important to save the dynamic range. I read a Kodak document that recommends to use 16bit scan when the stock is Vision3 to hold all the dynamic range in there. Also, which scanner do you recommend me? What I read the best one is DPX 16bit but it may be really expensive so I'd like to have a cheapest solution that can hold the DR of the film. Thanks!

I am selling Kodak Double X 35mm film short ends - 70 meters, or 230 ft. From another film production earlier this year. Purchased directly from Kodak, kept refrigerated at all times. Kodak rates it as 250asa, i shot is as 125 and got lots of details in shadows. I can ship it with USPS priority service in the US. 100$

WRITER/PRODUCER/VISUAL DESIGNER SEEKING DIRECTOR OF PHOTOGRAPHY WITH HER/HIS OWN EQUIPMENT WHO CAN EDIT AND PRODUCE — TO PARTNER ON PRODUCTIONS Hello everyone! Thank you, in advance, for taking the time to read my post. If it interests you I look forward to hearing from you... if it doesn't then I simply wish you amazing success on all your projects. I cheer for everyone to get their TV and film projects made! Okay...I'm a writer and producer, and a visual designer. I have multiple completed feature scripts and many more ideas/treatments. I have an open invitation for a pitch meeting with an Emmy winning TV producer who has produced hit after hit. I have received extremely positive feedback and praise on my feature scripts from other producers, known/recognizable TV actors, as well as Emmy nominated writers. Here is an excerpt from my recent thriller script feedback from one Emmy nominated writer who is also a director and a Sundance Grand Jury Prize nominee: " It’s a really well done story and has a lot of box office potential ... It is often thrilling, suspenseful, and downright creepy — all ingredients you need in this genre. You have built a world that feels authentic and isolated, which helps enormously. I think audiences who love to be scared will eat this up. " I quoted them only to assure you that I can write well, as I know you don't want to waste your time anymore than I do. In addition to good feedback I was recently recommended to a lit agent by a couple of producers to be the screenwriter for the adaptation of an autobiographical book about a highly publicized national story. There are many projects I want to develop and shoot, but I need the right partner with whom I can grow with, someone with talent, a similar mindset, and equipment who can shoot and edit, and produce as well. I'm seeking someone who is extremely serious and 0% flaky. I have low budget, low-mid budget, and no-budget feature film projects we can discuss, reality TV projects, even YouTube possibilities. A few are pretty ready to go, some need more development, and many are just loglines or ideas we can build out. I co-produced a feature film (2010) that won a few festivals and had a small theatrical release before going on to its TV release. I have many years in the industry/LA and know some indie directors, distributors, DPs, producers, Emmy nominated writers and EPs, hair & makeup keys, production designers, other great crew, etc. I have good instincts, can think creatively in the moment, have ideas on how to structure funding to shoot, and am excellent at casting as I know what good acting looks and sounds like because I was conservatory trained and acted professionally in the past. In addition I have a B.A. in graphic design and have years of professional experience in NYC, DC, and LA designing posters, one-sheets, brochures, logos, etc. so we'll never have a one-sheet that looks like someone's dog made it in Microsoft Word. I am seeking someone who wants to commit to a real partnership of collaboration and focus on making product that will be captivating and commercially successful, and have a lot of fun as we go. If this sounds like the partnership you are looking for and you are a talented Director of Photography with your own equipment who can edit and produce, please send me an email with a little bit about yourself as well and a link to some of your work. Thanks for reading and for your consideration. I'm looking forward to getting projects DONE! :) EMAIL ME AT THE FOLLOWING EMAIL ADDRESS: partner2produce@gmail.com

I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!

Up for auction Now. http://www.ebay.com/itm/-/272107471058? Package Includes: Arri Metal Flight Cases ARRICAM Lite 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Camera Aperture Cover Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 RS Block 24v RS Block 12v LT Camera Handle LT Center Handle Magazine Port Cover LT Viewfinder Top Finder Block Short Eyepiece + Rubber Eyecup Extension Eyepiece LT Frame Glow Frame Glow Mask Format 1.85 LT S35 LT IVS Color Video Tap Case Containing (3): 400' LT Shoulder Magazine 400' LT Shoulder Magazine 400' LT Shoulder Magazine Package Details: This camera package is from the inventory of ARRI Film & TV Services Munich which has been its sole owner. The entire package is in impeccable condition and has been maintained by professionals in Germany for its entire lifetime. The camera performs at factory specifications and is free of any mechanical defects. There are very few ARRICAMs left in such good condition.

Cameras éclair

Updated and reduced price from earlier this year. I currently have a small inventory of factory sealed cans of Kodak 16mm negative in storage in France. I had planned to shoot it myself, but the need is no longer there, so I'm willing to sell it at a discount. If you're interested, and located anywhere in Europe, it would be easy for me to ship it. I have in proper storage: 9 brand new sealed 400' cans of 7203 50D 1 brand new sealed 400' can of 7207 250D 200ft shortend of 7219 500T 100ft shortend of 7203 50D 240ft shortend of 7203 50D The new cans are 70 euros each and assuming someone wants to buy alll 10 cans I'll throw in all of the shortends for free. You have my guarantee they are just as shootable though. The shortends where made at the end of shooting days when film was still remaining in the camera mag but it needed to be loaded with a different stock for the following day. The rolls were cut with scissors in a changing bag and put back in their cans, still on a core. To reiterate: - 70€ / can (preferably would like all 10 purchased) + shipping Message me if interested.

Hey guys, So I've recently purchased an old SR2 modded to shoot super 16. It's a solid package but the only thing missing is a video tap. I've contacted a guy that used to build Jurgens taps and he has the parts but it can get pretty costly. My other idea is to purchase another camera I have found (An SR1 with a tap) and install it in my SR2. The price would be far better taking this route. The bodies are almost identical as far as i know on the viewfinder/eyepiece side of things. My only concern is that the tap on the SR1 won't cover super 16. I know the old Jurgens taps would cover both but I am not sure about this one. The wonderful gentleman who is selling the SR1 has been kind enough to send me a video detailing the camera. Here's my dilemma: The tap isn't labeled and my google research to identify it (and get specs on whether it will cover S16) have come up short. Does anyone know what this tap is, its history, and if it covers S16 or not? (images attached: apologies for the quality. They were taken from a youtube link) Thanks everyone!

LOS ANGELES (August 15, 2016) - The 38th edition of The Reel Thing, a three-day symposium addressing audio/visual restoration and archiving, will explore the constantly evolving ecosystem of film and digital restoration and preservation. This year's program will examine legacy film restorations and showcase modern technologies being used to futureproof collections and keep them viable for future display and distribution formats. The event will take place August 18-20 at the Academy's Linwood Dunn Theater in Hollywood. In addition to discussions with industry leaders, premiere screenings of several restored films are scheduled, including the original, uncensored version of John Huston's BEAT THE DEVIL; Marlon Brando's single directorial project ONE-EYED JACKS; and Robert Altman's MCCABE AND MRS. MILLER. Created and co-founded by Grover Crisp, executive vice president of asset management for Sony Pictures, and Michael Friend, director of digital archives and asset management at Sony Pictures, the event supports the programs and services of the Association of Moving Image Archivists (AMIA). "At The Reel Thing, our presenters continue to demonstrate the recovery of the achievements of the first century of cinema even as we assess the challenges presented by the first decades of digital moving image culture," says Friend. "Ever-more effective tools are being devised to address the mechanical and optical challenges of film restoration, and significant new technologies for the long-term preservation of digital data are rapidly evolving. At the center of this activity, technicians, archivists and the rest of the subjective human audience for cinema continue to examine, refine and redefine our understanding of the notion of preservation for both analog and digital moving image art." "It is an exciting time for the archival community as we address the changing technologies that help to preserve collections and our cultural heritage, whether it is film, audio, video or any flavor of digital you choose," notes Crisp. "Our audience is interested in the problems and potential solutions surrounding how we can cope with the issues we encounter in this still hybrid analog/digital landscape we find ourselves in." Presentations at The Reel Thing will feature expert-guided discussions on such topics as UHD/HDR, scanning, color correction, frame rate adjustment, color space and gamut. Case studies on the approach to preserving legacy films in higher quality standards and the processes applied will highlight several panels. Audio restoration will also be explored, looking at the latest technologies in sound. Speakers are expected to include: Michael Pogorzelski, Academy Film Archive; John Polito, Audio Mechanics; David Marriott, Lynette Duensing and Craig Rogers, Cinelicious; Lee Kline and Ryan Hullings, The Criterion Collection; Chris Reynolds, Deluxe Entertainment Services Group; Steve Kochak, Digital Preservation Laboratories, Inc; Wojtek Janio, Fixafilm; Andrew Oran, FotoKem; Gilles Barberis, L'Immagine Ritrovata; and Snowden Becker, UCLA, among others. For more information and to register for The Reel Thing, go to www.the-reel-thing.org. The symposium offers several registration options, as well as discounts for certain industry groups and students.

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!

Hey! So I am really excited because I got my grandads BEAulieu 4008 ZMII for Christmas. The thing is that it hasnt been used in 15 years. He took great care of it but the batteries are not in great shape. Does anybody now about where and how to get new batteries? Or any good servicing in London as well to look over it? Any help will be appreciated. I have shot a ton on a Bolex but I'm new to 16mm! x

Hi everyone, could you help me out and tell me if there are any shops/sites online that offer processing services to countries worldwide (in my case, Singapore)? Thanks!

Hello Folks, I'm looking for any type of shortends for testing few of my cameras and also doing some experimental stuff. I'm really tight on budget so cheaper for me is better. I'm intrested in Kodak, Agfa, Orwo, Svema, Fuji, and others. B&W, Color, Reversal and Negative.if shipping to Vilnius, Lithuania is ok for you. Thanks. Nojus nojusdra at gmail dot com

Hey everyone, I am currently selling an Arriflex SR Regular 16mm camera package. Here are the contents: Camera: Arriflex 16SR Regular 16mm Camera in Arri B/S mount Three magazines Batteries XLR cables Other power cables and battery chargers Magazine covers Eyepiece cup Handgrip Monitor: Sony B&W monitor Accessories Mounting equipment Cables Film: Some 16mm scratch film Crystal Control Speed: Crystal Control Speed that allows any framerate up to 75p. Cables for that and other accessories PM me with your best offer or if you want to see pictures! Or email me at tonymdupre@gmail.com Thanks!

Hey guys, I hope this is the right category to post this. Next year (june) I'm required to get an internship in order to graduate from film school. However, I'd like to get one in another country (US, Canada, UK mainly) because we don't have too much of an industry here. My dream internship would be to get into a major studio (Universal, WB, Pinewood...). I'll take any job, especially something that has to do with the camera department. I want to be on a film crew (no TV series, office jobs) preferably of a big, blockbuster film. I want my name to appear somewhere in the big screen. The only problem is I don't know where to start. I've checked their internships/opportunities but nothing seems clear enough. Also, some studios don't offer jobs as a crew member, as they say each film's producers hire their own crew. It would be highly appreciated if anyone could give me tips on how to get in a studio, or accept me into your next film's crew ;) haha