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I was having a nice conversation with a camera owner and he mentioned to me, according to conversations he had with other camera folk, that movie film cameras are set to appreciate in the near future and I wanted to post this to get some feedback from the community here. I do agree with him, since these cameras are not being made anymore, film is still available and people enjoy the film look and working with film. These cameras could turn into a nice commodity and maybe hard to get your hands on in the future. Love to hear your thoughts, Alexander

Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade?

The Chicago International Film Festival’s 11th annual CineYouth Festival is now accepting short films (10 minutes or less) from filmmakers 21 years old and younger from around the world. Held in Chicago May 7-9, 2015, CineYouth strives to encourage the talent of young artists and to provide them with opportunities to tell their stories, network with their peers and be recognized for their creativity. Entries must be postmarked by March 23, 2015 to be considered. Award winning films are shown at the Chicago International Film Festival and winning filmmakers are awarded cash prizes! For details and guidelines, visit: http://www.chicagofilmfestival.com/year-round/cineyouth/entries/ Submit! We look forward to watching your films!

Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade?

Hello all. Please check my 2 Arris for sale on ebay: http://www.ebay.co.uk/itm/2-ARRIFLEX-16S-KITS-FULLY-OVERHAULED-AND-WORKING-/171623295637? 2 ARRIFLEX 16S BODIES 4 MAGAZINES (1 12V + 3 8V) 2 ORIGINAL ARRIFLEX MATTEBOX ORIGINAL 8V MOTOR TOBIN TCS TM-23 For sale 2 Arriflex 16s kits Fully working with magazines and motors. Lens not included. Fully serviced by Les Bosher in South Wales about 1 year ago. Bodies are pristine and clean inside and outside. 1 Original Mattebox is in good condition (pictured). 1 Original Matte Box with bad signs of usage (not pictured). Magazines have some signs of use and acrylic pieces (on footage meter) cracked, but does not affect performance. Serial Numbers: 6587 and 8467 Questions answered promptly. Not selling separate, not splitting pieces, sorry. Please make your offering considering they are fully working and bodies are pristine, and servicing alone was £300. Can ship worldwide but buyer pays expenses and is responsible for tax and duties on countries of destination. No returns. Good luck.

As someone who loves film and the process of it all, and wanting a lucrative career in filmmaking, I would fight anyone who says shooting digital is better (than film) or anyone who puts film down for any reason because I believe film is superior. I still do, when it comes to the approach and the finished product. Well, fast forward into reality, I was about to throw down $3,000+ on an Arri BL4 (plus extras), spoke to a few owners who were more than willing to sell. And although I had that driving force to shoot film and have a big ol’ bad camera, something was bugging me, something was holding me back. Now, I am not a rich man, I’m just like you. But I started thinking, hmmm…most people can’t even tell the difference or don’t care about the difference in picture quality. They also aren’t helping me when I have to purchase, process and scan a 1000’ foot reel. Also, if I differ the costs to the client, then I price myself out of the market if I want to do any ‘for hire’ work. I’m also investing in a camera that will be hard to find parts. So what am I fighting for? Why do I want this uphill battle? Oh, right, the picture quality is supburb and digital still sucks. But it is getting better. Now as nostalgic as Super 8mm is, digital surpassed it. I don’t know if anyone out there could tell me they would want to see a feature length movie on Super 8mm. And as economically as it is to shoot 16mm to a certain extent, digital passed it in regards to resolution and clarity. And it’s just a matter of time before 35mm is caught up with, maybe this year by the new Alexa 65. With filmlabs dwindling in the world, and with Kodak one economic hiccup away from closing, why would I want any counterparty risk to be able to do my work? Yeah, yeah, Star Wars is supposed to be shot on film, etc. etc. etc. but if there’s an economic crash like is expected this year (possibly in the Sept. time frame), then Kodak will be gone, or will become super expensive. And if Kodak goes bye bye, then J.J. Abrams and team will be like, “Uhm guys, let’s do the George Lucas thing and shoot digital seeing that we can’t find any film. And Christopher Nolon might be crying in the bat cave.” And if there’s no film, then I doubt there will be any filmlabs. (Note: If you do not think we are set for a market crash or for an ever spiraling down of the U.S. economy, I invite you to take any U.S. currency bill out from your wallet (if you have any) and I guarantee you, you will not find a bill printed past 2009 (that includes that new $100 bill with the blue stripe…if you’re looking for some tangible proof to what I’m saying that is). You’re money is already monopoly money, you just may not know it yet, shh….mainstream news doesn’t want you to know. To this, l will say one thing and quote J.P. Morgan himself – “Gold is money, everything else is credit.”) So, do I want to buy a BL4 and possibly have nothing to feed it in the near future, and very limited places to process it when digital whom the masses have already accepted helps my wallet? Plain and simple, the infrastructure to shoot film is disappearing more and more everyday. Case in point, the two CVS stores that would develop my C-41 took their machines out last week. Now I have to travel or mail it somewhere. I don’t mind waiting for personal stuff, but for work and clients, I need it today. Now, I will still shoot film for personal use, my old Nikon FG is still kicking, or if I find a 16mm camera at a garage sale, or if a friend is shooting a 35mm movie and needs my help or my own little project, but for my work and my dime, uh-uh, I rather keep as much of my money as I can and shoot digital. What I do like about film is that it allows you be as artistic as you want to be, digital isn’t there yet, but it’s getting there on some level. And I’m not looking for a digital cam that will look just like film, that a pipe dream, but if I can find something I can at least work with, that could be something. I did see one video recently that got me thinking. It was footage shot with the Blackmagic production camera and here’s the link… Is the footage perfect? No, but it does have a different feel I think from the Alexas-Reds-Sonys-Genesis of the market. I could do something with this, I can work with it. The camera housing is butt-ugly, I would have to get passed that. And if not this camera, then another, but the bottom line is, digital makes a lot more cents. Where was my breakthrough you ask? I realized I was emotionally attached to film, and I needed to break that. It was clouding my mind from looking at things objectively. I didn’t want to do Blockbuster’s mistake and not foresee the trend and inadvertenly have my butt kicked to the curb by Netflix and Redbox. Big deal, I can’t call myself a ‘filmmaker’ because I’m not actually shooting physical film through a 40 lb. iron movie camera, oh well, I’ll just have to let that title go for a lucrative career. I’m sure I can find something else to call myself, like, ‘the camera guy,’ or ‘digitizer of the world’, whatever, who cares, at least I’ll have work and food in my stomach as I enjoy my craft. Just sharing my journey, maybe someone else can relate. Best regards, Alexander

Hello everyone, as I'm slowly getting into film and its ins/outs, I'm wondering about the following: In the age of DI and the numerous options in grading/post, do professional cinematographers still tweak emulsions (I'm talking about pre-flashing, shooting Tungsten film in daylight without filters and other "more experimental" methods) or are these techniques slowly getting lost?! I'm not trying to add another debate concerning "we'll do it in post" - just curious to hear whether digital technology is replacing these techniques. Thanks, Alex

I have a filmmaker friend who recently gave me his old Bolex H16 Reflex absolutely free over the holiday season. He has since graduated to a high-end digital setup, but said that the H16 Reflex properly cared for will give many years of service and can deliver great results for low-budget filmmakers. I'm a student, so low-budget pretty accurately describes my operation. However I'd be willing to invest in a lens that would suit my needs. I do stop-motion animation (seeking a BFA in Animation), and would like to use film for my project. The Bolex came with a pistol grip, a supplemental film magazine, cable release and a Vario Switar 18-86mm f. 25 OE lens. I'm wondering: what kind of lenses / accessories would I need to make the H16 Reflex suitable for stop motion animation? The lens I'm currently looking at is a Kern Switar 10mm f 1.6. Apologies for lack of knowledge, as I am an amateur. Thanks!

FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied cinematography autodidactively, read the ASC Mag, Painting with Light, Film Lighting and books like that for quite some time now and have a handful of questions as I am currently approaching my first feature film. I can’t really say a lot about it at this moment but it will all come in the future. THE PROJECT The film takes place in the late 60s and the sets will be old european buildings and modernist 50s & 60s architecture (Wright, Rose, Bauhaus, …) My moods are 2001: A Space Odyssey, Dr.Strangelove, Lola Montes, Touch of Evil, Brazil, North by Northwest, Yojimbo and Grand Budapest Hotel. I know it’s a bit colourful and partly entirely different but these are some the films that will inspire the look of this project. I would love to use film, which there is not enough budget and my first digital choice would be an Alexa. Now, there might not be enough budget for that as well and Even though I never wanted to do that, I’m thinking about/kind of pre-decided on a red dragon camera. I am not looking for a digital look, which sounds funny, but you know what I mean. I also won’t shoot 16mm because I want as much lens coverage as I can get. And I don’t want all that film hassle on my first feature, where I’ll have enough hassles already. The plan is too use the entire sensor (only possible in 6K) and tuning it down to 4K DPX Seqs. (Also handy for stabilizing shots). If I’m using vintage lenses and a 1/8 pro mist filter or something like that I’ll be fine. My first idea was to use 1.33x anamorphic lenses and I would really like to do that to get even more space. I didn’t find any 1.33x anam lens wider than 25mm, which is a 19 on FF (stretched to final image). And I want something a bit wider. More like a 14mm or 16mm FF equivalent. I thought about using the Letus Anamorphx Adapter. I don’t know how good it is, or what it can and can’t handle as there are few reviews out there. I would really like to test it though, but there are none in Austria, where I live. I am buying looking into buying lenses for the project and there will be 10-20k euros for that. Why not rent? because you can’t rent any vintage PL glass in Austria and I also really want that glass : ) . I also thought that maybe the set and dressing alone will have enough vintage flair and I could use newer lenses, like the CP.2s. THE DREAM I’m looking for something like this. 14mm - 21mm - 28mm - 35mm - 50mm - 80mm SOME LENS SET OPTIONS _ 2-3 anamorphic lenses + something like a 14mm Arri/Zeiss PL with an anamorphx (or not) I am afraid though, that the 14mm shots would look very different than the anam shots. The Anamorphx Adapter could fix some of that, but who knows. I also thought about the Tokina 11-16 cine rehousing but I’m even more worried about fixing up that look opposed to a 14mm Zeiss. _ An old PL Set + Anam Adapter _ CP.2s + Anam Adapter Maybe the 1/8 Filter + the Anam Adapter could deliver our vintage look? _ An old PL set and shooting 16:9 ACTUAL QUESTIONS I would love to hear your thoughts on it and if you have any other ideas or know any other anamorphic adapter aside the LV7200 and the anamorphx. What other filter I could use for achieving a “vintage look”. Another approach to this entire thing. P.S. Sorry if the post is too long : )

Hi, I've got for sale standard 16mm camera set, including lenses, cables, filters... all fitted in Peli case. Camera is in fully working condition, I have used in only occasionally. The last user, had it got serviced in Bolex, Switzerland (in 2009). Camera is equipped with normal 16mm gate, bolex bayonet mount, in-camera filter holder and TTL exposure meter (till ASA 640) What's in set: Bolex EL 16mm camera mark.II Kern Vario-Switar compact zoom 17-85mm T3,8 Angenieux 15mm f1,3 Bolex bayonet - C-mount adapter (2x) C-mount - Arri Standard adapter gelatine filter holder (4x) battery cable 4pin XLR (2x) Peli case Price is €850 + shipping I'm located in Slovak Republic, and ship to E.U. and U.S.A. Photos: https://www.flickr.com/photos/91204852@N05/sets/72157648786143401/ 16mm footage:

Hey all, I am currently looking for a DP well versed in 35mm scope photography for my next short film "Secrets of Aperture." "Secrets of Aperture" was funded earlier this year through Kickstarter: https://www.kickstarter.com/projects/colinandconnor/portal-secrets-of-aperture-webseries We are set on shooting 35mm anamorphic, and are aspiring for a fully optical workflow, including a print. I have been perusing this forum for a long time now, and found it a fantastic resource for learning about film. Always planned on hiring a DP through here as opposed to Mandy or elsewhere. We have no exact shoot dates but are looking at some time in mid-end of February. The job is decently paid, but will be determined later. If you are interested would love to hear from you. Please send demo reels to colinandconnor "at" gmail.com or message me through here. Thanks everyone!

I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please email me at: adam@adamcohendp.com

I'm shooting a short film this summer using a Super 8 for the first time and was hoping someone could give me a bit of advice as to which film I should look for. I'll be shooting most shots outdoors during the day, and I'm trying to get a kinda lo-fi feel. things get a bit tricky though as I'll also have take some shots at night near a campfire, I feel like a different kind of film might be more appropriate for a shot with such low light. I might also want some sunset shots. Is there any particular film I should look into? Thanks!

Hi folks, Wish to know what is the best place to get my Super 16 camera and Zeiss 11-110 serviced in New York city?

Myself and John Holland will be taking a tour of Cinelabs, one of the two boutique film labs in London, on the 13th November to see their recently revamped facilities. If anyone would like to join us you'd be more then welcome, please let me know here and I'll add your name to the list.

Used Arri 35-3 MkII with Nikon mount for sale - $1700 Clean, well maintained, ready to shoot Super 35. I am the owner and operator and have treated it like a baby. Photos and full details at http://www.prairiepictures.com/gear.html Martin

Hi, I'm looking for a Cinema Products NCC6 battery charger for my CP GSMO 16mm camera. I know Whitehouse sells them but I'm wondering if anyone may have one available to sell. Thanks.

"Donnie Darko" cinematographer and ICG Local 600 President Steven Poster, ASC, will present a master class in cinematography at IFP's Made in New York Media Center in DUMBO on Saturday, November 15, 10 am to 3 pm. The film "Donnie Darko" will be screened in the morning and after lunch, Steven will present an overview of his collaboration with director Richard Kelly. Steven will also share his secrets about how to persevere and flourish in the film business. When: Saturday, November 15 10 am to 3 pm Where: IFP's Made in New York Media Center (DUMBO) 30 John Street Brooklyn, NY 11201 RSVP here. http://nymediacenter.com/events/event/?id=242651E3-8495-4F0B-A94FEC84FA3E2750&slugid=masterclass-with-steven-poster-asc-donnie-darko

The director and I took the concept of B - Horror Films and many horror films from the 80's as an inspiration for the film, and then thought what if we did what Grind House films do (Double Feature), but with music videos instead. We shot on 5219 Pushed a stop for the grim reaper sequences and Canon C300, I wanted to embrace the idea of contrasting the formats within the story. The concept came first and then we asked a variety of bands and ended up with four. In order: White Lies Casket Girls PTA (People's Temple of America) Sleepy Cheese I would love to hear your critiques on the music video. Thanks and Enjoy! http://vimeo.com/110548281

Greetings, Selling my trusty Arri SR3 package. A++ Excellent, with recent service records, both camera and mags overhauled at TCS (tcsfilm) in NY in July 2013. Ready to go. Camera body (3) mags charger long and short finders 1:78 GG long rods 2 handles handgrip XC-75 video tap (b&w), with prism Transvideo Rainbow 5" monitor (2) barneys Single frame remote Asking $3500. PM me if you're interested. Thank you, Martin

Hi there everyone, Greetings! Looking for inputs from senior and experienced Cinematographers as to how best to water proof a camera and the lens. The camera in question is an SR3 to be used for prolonged use at sea, but certainly not underwater. Is a splash bag good enough? how do you cover the lens front element from salt? regards

Total novice here preparing to shoot a short film on S16... Quickly looking at these film grabs of Christopher Doyle's work makes me wonder how he controls the two color palette across almost the entire film... int/ext shots. Film-Grab.com: Fallen Angels (green/red) Happy Together (cyan/yellow) Days of Being Wild (blue/green) In the Mood for Love (blue/red) 2046 (blue/red) I think he uses Tungsten so my amateur question is whether he is mainly controlling color by gels, set design, or color grading in post. Or all three. I'm wanting to have similar control of color in my film and not sure how to achieve it. Here are some more specific examples/questions/curiosities: 1) green clock with red lights coming in through window? 2) how does he flood everything with green, the stock? post? but the red helmet and light seem unaffected, how? 3) red/orange hair with surrounding green? is that just a gel on her hair with barn doors or flags to not get the curtain? (her hair is a blonde wig) 4) how is there so much green in this image? post? 5) yellow light coming through window? green light in background? warm light on face? are these all gels? 6) In Happy Together is has the cyan/yellow look and I understand it is much more possible to control this with all the interiors... but how does he do it with the day exteriors, obviously that is not natural color. Is this just post color grading? I could go on and on... but I think this shows the lack of knowledge at hand and what I am trying to learn about. Thanks ahead to all those who chime in!

I just found out that Film Source LA have no 16mm short ends on hand, and virtually no 35mm short ends, whatsoever. They recommended Comtel in Burbank, but the owner there wants to sell his short ends for about $10 less than what Kodak charges for new film. I was literally quoted $150 for a 400 ft. roll of Vision 3 50D stock. Kodak's price is $160.80. Does anyone know of a good source for short ends? Looking for a place that tests the film with a densitometer, and doesn't keep old stock on hand for years at a time. -Jerry Murrel Little Rock, AR

Title: Learning From Hollywood - Architecture and Film Author: Hans Dieter Schaal ISBN: 3 - 930698 - 70 - 6 Link: http://www.amazon.com/Learning-Hollywood-Architecture-Hans-Schaal/dp/3930698706 Hi all, I have finished the book above mentioned and it is a quite interesting point of view on Architecture and Film and how architecture is designed on movies to create moods together with the help of the cinematographer. It might be something that cinematographers might not consider reading but it is a very small book - 120 pages - and it is very well structured. We can find chapters on Houses, Streets, Light and so on and I would say that if you can get a copy in your local library or you can get it online, flick through it because it is really amazing. I found that some of Hans Dieter's point of views are a bit old fashioned or very architectural related - for example, he writes that streets are always negative forms as opposed at buildings - and although I don't agree with him on some points, it created a new box in my mind where I can throw things regarding architectural aspects of the process of my cinematography development, and that is always good :) It contains several examples of movies that are the paradigm of architecture in cinema, and quite a lot of images too, from M to Viridiana, etc, etc. A good reading for a weekend if you don't have anything else to read! Highly recommended! Have a good day!

I’m sort of new to cinematography. I’m hoping to achieve a certain look or at the very least come close it. I plan to upload this mainly online for now (like youtube and vimeo). I know what I’d like to have as an outcome, just not sure specifically what I might need to do to get there. I’m looking for more of a style used during the 90’s for music videos. They, I assume, were filmed with film camera and not digital, so I’m aware of one part of that solution. I figured if I shoot digital in 24 fps, somewhere around 720, that I might be able to get close to the look I’m looking for (plus whatever sony vegas or premiere can provide me for filters). I have examples so that anyone with sound advice can understand what I mean in a visual sense. http://www.youtube.com/watch?v=SWDazyPyjts (Redman “I Can’t Wait”) http://www.youtube.com/watch?v=CMJH2XWBQGU (Nas “The World is Yours Tip Mix”) http://www.youtube.com/watch?v=ehT_R-Vd6Nk (Da Youngstas “Mad Props”) http://www.youtube.com/watch?v=gOppDnMIIak (Extra Prolific “Brown Sugar Directors Version”) http://www.youtube.com/watch?v=DIWH2xc9yKk (Camp Lo “Luchini”) I put up a couple of links to give a better view of what I mean, from mid 90s to late 90s. I’m aware I’ll need a dolly, tripod or some kind of stabilizer (I don’t plan to get any of the big production cranes). Other than that, not sure exactly what I would need to do to get the closest to that quality (besides lighting techniques).