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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?

Hi everyone I am sorry if I brought such a subject which has been discussed I guess so many times which is Film vs Digital, I don’t want to discuss the technical aspect I want more to see your opinion about the evolution of cinema and how tools can help doing this I watched recently the THR (The Hollywood reporter) roundtable (Cinematographers) you can watch in the link bellow. And they started as usual praising Film, which still looks better than Digital until NOWDAYS and I am sure Digital will surpass it in the next decade. And I can quote some what they said: Bruno Delbonnel “we are going from watchmaking if I may say so, an ArriFlex Camera or a Panavision Camera were like a Swiss Watchmaker, it was really precise, it cost a fortune .. $300k and now we gonna use camera which gonna be $2000, the problem is It’s an economical decision it’s not an Artistic decision, ….. “ With all my respect to them, First off, I don’t know if the guy has a clue about Digital cameras prices or he is comparing Film Camera to Panasonic DSLR’s !! And something that we really have to know, is it really just about money? Or Cinema/video tools have to evolve to give us better tools in the future that we can use to better tell stories ? If you watch the Roundtable, you find a lot of opinions regarding Old vs New tools which is for me a kind of “Orthodox” traditional way of thinking, that some of the Great Cinematographers still believe in, not just in this roundtable but in general, I would like quote some other things that have been said (About lenses sharpness, film grains, look, 3D,…) but I guess the post is long enough to mention this here. And I hope I can discuss this in details if people are interested To put it in a nutshell, Are we supposed to take care of Digital, evolve it in way it can be better than Film and even to Mimic Film for Film look lovers, or still praising film until the end of the days? Regards

Hello, there! I'm a 16 year old director, and have just gotten into cinematography. I'm beginning to develop a style of moving the camera during intense scenes, and framing wide shots by focusing mostly on the background. Please take a look at my latest short film, "The Lake", where I use these principles to heighten the suspense and tell the story. John W. King

Hello everybody. I am selling 9h and 11min of 35mm Fujifilm due to a feature film project to shoot in Italy that has been canceled. I have: 115 rolls (400ft - 4 perf) ETERNA VIVID 250D and 9 rolls (400ft - 4 perf) ETERNA 250D All rolls have been bought March 2013. Anyone interested can write me at: wiggle@hotmail.it Can send more details of pictures in the case. Paolo

Hello, my name is Ryan O’Rourke. Full disclosure, this job I would like to create with some of you may not yield income..but rather fun and experience. I am looking for 3-4 people who are interested in creating quality film and hopefully building an interesting brand. I have started a project called Sixty Second Journeys where we interview different people and try to capture an interesting thought, message, or story. The goal is to create something thought-provoking, relatable and digestible. Each interview will be a total of sixty seconds long to remain digestible and leave room for thought. Here are two examples. https://www.youtube.com/watch?v=SunUN-xMans&list=PL3n-ZkL0NiCIb1Q8hhaNFRcz7dvi5CPx3 http://youtu.be/FrePjJzeaRA We want it to be similar to the page “Humans Of New York”… but in a video format. In the end I would like to have a team of 4-5 people. I don’t want this to become a stressful thing for everyone and with a team of 5 we could all individually aim to create one video a month. This would mean together we could create 5 videos a month and we could post one video a week to youtube. Why do this? You will be able to network with other cinematographers like yourself and learn together. It’s great practice filming and editing. These films are great for a portfolio IF WE CAN BUILD THIS INTO SOMETHING SUCSESSFUL this list will grow exponentially. If you would like to join the team send me an email here rugglesfacebook@hotmail.ca (not very professional, I know Haha) Hopefully we can build this into something interesting together!

This is my first time to come to this forum, nice to meet you! I have a question about a monitor to be set in a film production. I have a 27-inch monitor, how can I set up the monitor steadily so that it is easy for the director to view it? I am looking for this type of monitor case (photo attached), however there is no products for 27-inch monitor. So, I want to ask for any suggestion or experience of setting a large monitor in a film production, and hopefully there are some photos for reference, thank you so much!

I hope this my first post is in the correct place!. I have been given an old Hanimex projector and have got it working, but the take up spool does not revolve for some unknown reason. It has the belt attached but does not turn, everything else seems to be working fine and the pictures are ok, so I must be missing something. Can anyone give me a clue please as I would really like to completely restore this old machine to fully working order. Any information will be gratefully received. Thanks, John

Hello, I just learned that Kodak has discontinued making 200' loads of 35mm film. I have an Arri 3C with both 200 and 400' foot mags. However, I would like to continue using my 200' mags. How can I best make 200' loads from say 400' rolls? I have a set of rewinds. Can the film stock be rolled off and used without rewinding? Thanks! Steven

My name is Max Normandin, and I've ALWAYS wanted to become a filmmaker. The problem is, I suffer from panick attacks and a pretty severe case of social phobia. I don't get out of my house often, and I certainly don't surround myself with people. Which makes it pretty darn hard to make movies... This is the story of how I went ahead a shot a 25min short film all by myself, with no crew, using family members as actors. I don't know if this is unusual or not, but I think the quality of the final product, given the very limited ressources I had, might be uncommon.

Greetings, I am DPing my first feature film, it starts production in about a week. I am looking for advice or tips from DPs that have shot a feature before. This is a dialogue heavy film with lots of conflict between main characters. I am looking for any kind of advice on shooting dialogue scenes, communicating with your crew on set to be more efficient, clues on making sure you have coverage or just anything you wish you would have know going into your first feature. I know it's broad, but if you have something I would love to hear it. Story Summary As protagonist, Anna, cleans out her childhood home to help sell it, she stumbles upon a tiny mailbox full of letters from a mysterious childhood pen-pal. Anna originally discovered the mailbox growing in her garden with a letter addressed to her when she was 10. Heartbroken and angry about her parent’s impending divorce, Anna found catharsis and comfort in reading and writing letters to her new friend. 25 years later and similarly broken, Anna once again finds solace in the letters and embarks on a journey to find the true identity of her mystery pen-pal. But what Anna discovers is the last thing she expected to find. Thanks All! Marcus

Hello , I'm looking to work with a DP or Cinematographer that works on film in Los Angeles for free to learn more in the field. I have been working in the film industry for 11 years. I started in NYC and been living in Los Angeles for the last 3. I'm looking to learn more on film and get more experience. I have worked on digital a lot, RED, ARRI ALEXIA, Blackmagic, Canon 5D and 7D, Sony and worked on super 16mm in the past. I was lucky enough to work on 35mm twice in NYC 8 years ago. I want to learn more and get more back into film and looking to meet new people with that experience. Thanks and I really love reading the blogs on here and love making films. Experienced in loading, building, and AC work, also operating.

Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel on my website listed below. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com

Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com

Does anyone know if these schools are reputable and a good place to go for film? Just trying to narrow down my list. So far I have Columbia college hollywood FullSail SCAD University of Advancing Technology

I'm having trouble understanding the difference between Filmic pro and Artemis viewfinder. I know that they are perfect apps for filmmaking on the iphone but don't know how to use. Plus I want my film look to be baroque and colorfully artistic looking that giallo can accomplish. I'm into the Italian cinema because of their lack of perfection of cinema. I just want to know which is the best app for the iphone 4s can make a perfect giallo, and baroque look on film?

Last summer I made a 16mm film and was given a great amount of technical and tactical help from these forums. This film became "American Watercolors". In it, I drive an old Datsun B210 from New Mexico to the ocean. The camera I used was my grandfathers Bell & Howell 240 and I learned after the fact that there was a registration issue with the camera which is what caused all of the melding and mushing of image. The film has shown this year at the Johns Hopkins Film Festival, Indie Grits Film Festival & Athens of Ohio Film & VIdeo Festival. I leave in 3 days for a 5 week road journey of Europe and I will be creating another film similar to American Watercolors. This time I plan on using voicemails from people we encounter on the road as a sonic layer to better help specify site and narrative... Any thoughts on this or other work I have uploaded to Vimeo is more than welcome and appreciated! Best

I have a cousin who's currently working to produce a programme (pitch an idea for them), that would be play on tv. but they (tv station) wanted to discuss the salary when he comes up with an idea they want to make. basically they want to collaborate with him. so his question is: 1) How much should he get paid if he works as a (writer/director/cinematographer), as the tv station want to discuss that with him. how much is the usual pay for ppl in that position? btw, he has graduated from university (he's experienced in making film etc, few of his films had gotten into festivals as well) 2) Do he need to sign a contract with the station for his idea? (e.g. if he wants to also put the show on his youtube account to help show his works) 3) and how to protect his idea so the tv station won't steal it from him, as he seems worried about that.

Greetings, I'm looking to purchase ground glass and matching glow mask for an ARRI 535B. 1.85 glass preferable, but 1.78 and 4.20 are also welcome. Thank you for your help.

Hey everyone, I'm looking into the whole shooting on 35 mm 2 perf thing right now for my first "professional" short movie, and what scared me mostly about 35 mm was not being able to really see what's being shot other than on a shitty quality video tap or assist, but I read here the other day someone talking about using an HD monitor and feed it the composite signal from the camera and having a much better quality, is this really possible? I read otherwise about the HD IVS by Arri but it seems ridiculously pricey, otherwise, it seems like the Penelope has actually a pretty decent, much better video feed, what do you guys think? Love this forum by the way, so many resources !

BURBANK, CA - FotoKem recently completed the digital intermediate and post production services for the indie film Palo Alto. Working with director/screenwriter Gia Coppola and cinematographer Autumn Durald, FotoKem colorist Alastor Arnold fine-tuned the natural look created in camera to ensure the filmmakers' vision for this teen tale is reflected on the big screen. Based on James Franco's short story collection about rebellious high school kids in suburban California, Palo Alto has been praised for Coppola's coming-of-age storytelling and for Durald's evocative photography. The film, which marks Coppola's feature debut, garnered raves at the Tribeca, Telluride, Toronto and Venice film festivals before its recent release. "Gia and I had worked together on five projects prior to this feature, so we have a similar visual language, taste and sensibilities," says Durald. "Gia is from a photography background, and we pulled a lot of photographic references for the tone and mood we wanted - photos by Stephen Shore and William Eggleston. It was important to have a more filmic, softer texture to the image that harkened back to movies like The Outsiders and Dazed and Confused - something that looked more aged with softer tones in the blacks as well. And nothing overly saturated and contrasty." Durald shot the feature with a Panavised RED Epic camera, mounted with Panavision Super Speed lenses and vintage 1970s glass to give a softer feel to the image. The on-set DIT handled basic data management and adjusted stills in REDCINE-X, but no LUTs were applied. Durald's RED raw R3D files were transcoded for final color using REDlogFilm for flexibility with various film/lab emulations. When Coppola and Durald met with Arnold, they brought their look-book of still photography and suggested some films for him to watch, including The Last Picture Show, American Graffiti and The Virgin Suicides. They also experimented with different combinations of film emulation LUTs and grain treatments on various scenes from the feature. "First and foremost, they wanted a very filmic approach to keeping the image natural, smooth, and most importantly beautiful," recalls Arnold. "We weren't pushing in a hyper digital direction. Autumn's photography was awesome, a unique look with a consistency of tonality - it was in a very warm place with naturalistic skin tones." Arnold demonstrated Fuji and Kodak film emulation LUTs along with variants involving slightly different color spaces and lab processes. "We were really happy with the Kodak LUT as the base, and then we added grain over that as well," says Durald. Using the Quantel Pablo for grading, Arnold suggested using its noise treatment feature in different blending modes and intensities to give a grain pass to the entire film. "It all ran in real time, so it was really interactive and fast to adjust noise to emulate different exposures," he reports. He gave particular attention to sodium vapor night exterior shots, tilting toward warm ambers instead of greens and making sure that black levels "felt appropriate for night but didn't bury anything - you always felt you could get into them." Arnold credits Durald's talents as a DP with making the DI process more about collaboration and experimentation than fixing things. "We never struggled to match a key to another key or to even things out," Arnold notes. "It was all about finding the right feel, tonalities, densities and grain. It was great to have the filmmakers walk in with a concise understanding of where they wanted to go stylistically with the finish." Durald concludes, "Alastor has a really great eye - he understood what we were going for from the outset. It's really important to find people with the same taste and sensibilities you have who can translate your visual language emotionally and technically."

HOLLYWOOD - Six of the industry's leading brands - Anton/Bauer, Bexel, Litepanels, OConnor, Sachtler and Teradek, all part of the Vitec Group - will be demonstrating a range of their latest, innovative products at the upcoming Cine Gear Expo on June 6-7 in Los Angeles, at booths #64-66. Cine Gear Expo offers film, video and broadcast media makers an opportunity to discover the latest technology and techniques, get hands-on training, gain knowledge and skills from industry leaders, obtain the newest equipment, hear breaking industry news, and network with peers and industry leaders. In addition to a prize drawing for a new Litepanels product, highlights of the advanced portfolios being shown by these brands include: Anton/Bauer® will officially release its V-Mount Digital Battery™ Series. The company's revolutionary Digital Battery Series is the first battery line designed specifically to power digital production for the cinema and pro-video sectors. The new battery series, also available with Gold Mount® connectors, meets the unique needs of 4K camera set-ups and other digital cameras in use today, while providing top-tier levels of safety, performance and reliability. With the introduction of a V-Mount option to the Digital Battery Series, Anton/Bauer's best of breed batteries will now be available for use with any camera and any accessory, and includes three battery sizes (90 Wh, 150 Wh, and 190 Wh). Litepanels will officially launch its much anticipated next generation LED panel series, in addition to showcasing the recently released Sola 9 (daylight balanced) and Inca 9 (tungsten balanced) LED Fresnels. The new 9-inch fixtures fill a market demand for medium-sized LED Fresnels. Litepanels' industry-leading collection of LED Fresnels now covers the complete range needed to deliver a full LED solution for broadcast studios, episodic television, and feature film production. Also making its Cine Gear premiere is the new Hilio D12 (daylight balanced) and Hilio T12 (tungsten balanced) high light output panels. The innovative panels provide the light quality, versatility and intensity of an open source fixture, while offering all of the benefits of Litepanels' proprietary LED fixture design. OConnor will present a growing line of camera and lens accessories. Engineered to address the needs of today's fast-paced production environments, the line includes the CFF-1 and O-Focus Dual Mini follow focus systems relaunched in Photo and Cine Kits, the award-winning O-Box WM mattebox, innovative O-Grip Handgrip System and the Universal Baseplate. Sachtler will display the Ace Accessories, a new range of premium camera support gear, which includes the Ace Base Plate, Ace Follow Focus and Ace Matte Box. The accessories can be bought individually or as a package. Sachtler also will showcase its redeveloped Ace L fluid head, now compatible with all types of sliders. The Ace L 75mm tripod head can conveniently be converted to a flat base, through the removal of a bottom screw, and mounted on a range of sliders. The Ace L is extremely versatile with a payload range of up to 6 kilograms and can be used with three different carbon fibre tripods - the floor spreader, mid-level spreader or telescopic tripod system. The product also features the seven-step counter balance, patented SAdrag™ and illuminated level indicator to ensure precise and smooth camera operation. artemis, the camera stabilizer system by Sachtler, will also be on display. Whether it's a film, worldwide live-broadcast of a sporting event, or a TV show, artemis camera stabilizer systems are always used when perfectly balanced pictures of moving subjects are required. Bexel and Teradek, also Vitec Group companies, will be exhibiting at Cine Gear Expo. Bexel (booth #98c) provides brilliantly designed and flawlessly executed systems and solutions to producers of some of the biggest and most important televised events in the world. Experts from Bexel will be on hand to discuss their end-to-end solutions, including systems integration, fiber and infrastructure support. Bexel representatives can discuss new and used professional audio, video and fiber equipment solutions, as well as elaborate on their comprehensive broadcast rental equipment and technical services for television productions. Teradek (booth #119) will showcase their brand new Bolt Pro series of zero-delay wireless video products, along with their Serv and Cube Pro encoders, which offer users real-time HD monitoring on iOS and Android smartphones and tablets. The Vitec Group brands are technology leaders in the broadcasting, pro video and cinematography marketplace. They are characterized by innovation, reliability and long-term cost savings, with the highest levels of customer support. For further information visit their booths at Cine Gear Expo.

Hello everyone! My name is Grant. I'm a cameraman/editor from Russia. I'm 21, and I spent 5 years on learning and practicing in video industry. My dream is to shoot beautiful and interesting adverts/films with people who love it too. Unfortunately I live in Russia, in city where only weddings are popular, and no one need true quality. Of course, I participate in some "Big Moscow projects" but I understood, that the capital is not for me (non professional reasons). And now I decided to find a studio or comp., to work with outside Russia. And it is even doesn't matter where - Europe or USA/Canada. But move to another country without any contacts might be risky I want to ask you about any ways to implement my dream. Thank you for any advice. And have a nice day.

Hi everyone, we wanted to write in and say thanks. We're so grateful for your feedback and support on this project. First phase of the 3-axis time-lapse moco rigs now in production. Phase 1 shipping is schedule for this month. Video overview here: https://vimeo.com/93078265 Lightweight at 3 pounds per unit with motor or 7 pounds for pan/tilt configuration. Super strong handling up-to 20 pound payloads. Highly configurable with 100s of possible combinations and last but not least affordable at $350 per axis. Please keep the ideas coming as we work towards final design. Phase 2 ships towards the end of summer. Can't thank you enough for your support.

Hello all, This is my first post. I am a photojournalist by trade, but I recently picked up a Revere Model 99 Standard 8mm Ciné Camera for a good price at a Flea Market. I was wondering a few things. What are some good sources for Standard 8mm film? Also, it came with two telephoto lenses... both had focuse rings that seem stuck. Is this a matter of dissasembly, or am I missing a trick to get them moving? The aperture rings work great... Thanks for any advice or information. I'm not sure if there's a digitized users guide, but it would be most helpful in learning its operation. If I can get it running, I'd like to take it along on an assignment to India this summer... when I have some down time, a film about the Nihang Sikh warriors would be fun to shoot in this old format. :) Thanks again everyone! www.brundinphotography.com

I currently don't have much knowledge at all regarding video, but am looking to get in to it. I have a very limited budget but will be going to Thailand at the end of the month and hope to get some footage. I know someone selling a Leica V Lux 1 for cheap, it seems to be a good choice. A sample of the type of footage I hope to achieve is linked here: I realize that this is made on film and to achieve that myself will require lots of editing work. I just wanted some opinions on how viable this is with the Leica V Lux, or any other entry level camera. If it isn't, I'm fine to hear it, I just am having trouble finding information. Any advice is much appreciated.