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Colorlab’s Film Contest Summer Shorts ‘17 will be accepting submissions from 12:00 PM US EST June 29th, 2017 until July 22nd, 2017 11:59 PM US EST. With sponsorship from Kodak, Colorlab is providing a unique opportunity for filmmakers to see their creations shown in beautiful 35mm film in front of a live audience. In addition to the screening, filmmakers will benefit from having their movies printed onto Kodak polyester film stocks, effectively preserving them forever. This year, the festival will have two categories, and two grand prize winners. Applications may enter only one category: COLOR NARRATIVE or BLACK AND WHITE NARRATIVE . One grand prize will be awarded for each category. The grand prizes include a 35mm film-out preservation negative, 35mm soundtrack, 35mm answer print, and a premiere showing at a local Washington DC area theater on Thursday, August 24th, 2017. Entry is 100% free of charge. Submissions must: originate on minimum 4K resolution video, 35mm film, or Super-16mm film. be provided at minimum 4K resolution. be no longer than 20:00 (twenty minutes) in length. be submitted before July 22, 2017 11:59 PM US EST. Applicants should visit www.colorlab.com/shorts for contest rules and entry form. Digital submissions are accepted, and a link (Vimeo, Dropbox, WeTransfer, Aspera, Youtube, Google Drive, etc.) should be emailed with entry form to shorts@colorlab.com. Colorlab, operating in its 45th year of business, is a full-service film preservation laboratory in Rockville, Maryland. They specialize in 16mm and 35mm processing, printing, scanning, preservation, and digital intermediates. FOR MORE INFORMATION : Ben McMurry Executive Director Colorlab bmcmurry@colorlab.com 301-770-2128 x102 -
Amazing Cooke 10.8-60 in PL Mount. Get the Cooke look at a fraction of the price. Originally a Cooke 9-50 for 16mm but modified for Super 16. The modification itself cost over $1500. Covers m4/3 and 2k on Red Dragon. Recently serviced and collomated by Du-All in NYC. Focus and zoom are geared. Laminated stickers provide the lens' modified focus range. This kit comes with a custom case, lens support and 8" 15mm rods. The glass is in amazing shape. There are a few specs of dust which you can refer to the images for but otherwise perfect shape. No haze, scratches or fungus. Looking for $3250/OBO. Located in NY/NJ. Can meet in Manhattan. Willing to ship.
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For rent are 2 ARRICAM's A package deal to rent a Lite and Studio in outstanding condition for $100 per day. Also ask about 3k Scanning to DPX at $200 per hour! Feel free to contact for more details. ARRICAM LT 3 Perforation: 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 to ST Magazine Adapter 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 ARRICAM ST 3 Perforation: Arri Metal Flight Cases ARRICAM Studio (3 PERF) 35mm Camera Body PL Mount RS Block 24v RS Block 12v Filter Mask 18,7 x 24,9 Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 ST Top/Rear Load Adapter ST Top/Rear Load Adapter Cover Handle ST 3 Part Camera Handle (Long) Magazine Port Cover ST Viewfinder Top (SPHERICAL/ANAMORPHIC) Finder Block Short Eyepiece + Eyecup Extension Eyepiece Long (ST SPHERICAL/ANAMORPHIC) Frame Glow Frame Glow Mask Format 1.85 ST + LT S35 Footage Counter (2) Flexilight ST Rear Load Adapter ST IVS Color Video Tap Case Containing (3): 400' Studio Magazine 400' Studio Magazine 400' Studio Magazine Case Containing (2): 1000' Studio Magazine 1000' Studio Magazine -
Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
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Hi all, I am hoping to get some Cam PA gigs while out in LA for the semester and was just wondering what everyone's perception is of the Camera PA. What are their duties/responsibilities? What is expected of them? Was just looking for some outside input to know what to bring to the table. I imagine it's nothing glorious, and with a good 1st and 2nd, I could see a lot of standing around waiting to help being a reality. Thanks! -
Time for me to sell one of my other Super16 camera : - 1 Bolex EL super 16 mm. Converted from normal 16 to S16 by Les Bosher, UK. Used, some small dents on the surface, but the camera works well. I shot one of my first documentary film with it. About settings : from 10 fps to 50 fps, film speed from 25 asa to 1600 asa, built-in lighmeter. Included : - 1 Bayonet to c mount adapter - 1 battery - 1 battery charger - 1 set of filters holder. Located in Europe. Price : 1000 euros. High res pictures on demand. ( you can e-mail me at : dartwiller@yahoo.fr) I hope my baby gonna find a new home.
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Hello, I'm seeking a DP for a feature film. I'm still putting together many of the moving parts such a named actors, money and locations therefore this director of photography will become part of the package I present to financiers. Ideally, I'm seeking someone who has 10 years plus experience and has at-least 3 films to his/her credits that are theatrical releases. Why is theatrical important especially today you may ask. Good question. Someone who has films continually exhibited in theaters knows what a theatrical film should look like. I'm not seeking someone who can shoot a TV looking movie. I'm looking for a cinematographer who understands how a shot translates when it's project 20 ft height and 50 ft long and the understand lighting and color. Some of the film will be shot under water so knowledge of underwater shooting is helpful especially when dealing with lighting. Also, some very important scenes will be shot at night and I'm looking for less grain in the blacks for my night shots. I understand grain can be cleaned up however the less we have to do in post the better. If it's right when it's shot, it's better in the edit. I'm projecting starting this film in the fall or maybe spring '18. We'll know more once the dust settles. If interested, Please send, IMDB, resume, day rate, and bio. Thank so much. Dt.
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Shane's Inner Circle
Jimmy Jib posted a topic in Students, New Filmmakers, Film Schools and Programs
Just wondering if anyone found this beneficial. It seems packed with excellent information, but your subscription does not grant you access to past content, only current. https://www.hurlbutvisuals.com/blog/shanesinnercircle/ I'd like to know if Shane answers specific questions from subscribers like a real mentor would. And not only "sometimes" of course. So even if you have to pay for additional content once you are a subscriber, I think it could be worth it based on the samples I've seen. -
Filmmakers! I am clearing out some gear I used this spring/early summer on project that has wrapped. Up for grabs is an ARRIFLEX IIC with a BNCR mount and a video tap from Precision Camera that easily screws onto any ARRIFLEX style viewfinder. (works with 16mm and 35mm) I am also offering a spare door, a vintage Arriflex shoulder mount, 600ft of film ( recans ) 3 spare gates ( 1:66 / 1:37 / and 1:85 ) on top of the gate installed in the camera. I will be offering TWO motors for the camera both of which are constant speed motors. I will offering up TWO 400ft magazines. I will also include some power cords and a CINE 60 belt. I can provide pictures and can schedule a video conference if your inclined. I also have other spare gates for ARRIFLEX IIC cameras such as 1:37 / 1:85 / 1:66 I am will be listing various film gear as I purge. If your interested please PM #shootfilm p.s I can ship worldwide
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Hey all! Just finished the ASC Manual and there are a few spots that speak about "Ground Glass". From what I've collected, it seems to be a piece of glass that works between the gate and the reflex and often includes different aspect ratio guides? Can anyone give me a clearer definition? Thanks, Jake
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Hello all! I'm new to this website and am excited to make my first post! I am going to be working on a project soon and want to shoot super 16mm. I have been looking at cameras online to buy and have come across some decently priced Aaton XTRs from various countries outside the U.S. My concern is that some sellers have mentioned that they are PAL cameras. Can anyone tell me if this will matter when shooting the film? I have heard mixed opinions about it just referring to frame, rate in which case I can adjust the camera's frame rate. Others have told me that I will constantly have flicker due to electricity in the US. Will I be able to use the camera or should I look for something else?
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hey guys, I recently got into 8mm film making. i specialize in the avant-gard and experimental side of the art form. I have very limited resources and experience with it though. if anyone could tell me the best places to get film, and get that developed. where the best place to get editing tape; so on and so on. I'm a musician by trade and write film scores. i've only ever made digital recorded movies, so film is some what new to me. I have the 8mm camera and projector already and one roll of film. i just need your help. Hans Richter is my hero
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...I sent my Aaton XTR XC to England for service, battery recell etc before I start rolling with it and Alan tells me the camera can't be converted to Super16mm as the "gate and ground glass have been swapped for regular 16mm only"...... so I stopped to think.....is it really worth all the hassle converting to Super 16mm after all?... Am I going to shoot a film on 16mm film that's going to appear in a large cinema theatre screen........prob never....and if what I shoot appears on Vimeo, YouTube, and viewed on tablets and smartphones - ironically the iPad Pro screen is practically the 4 x 3 ratio - should I not just stick with standard 16mm format? .....would appreciate thoughts.....no idea on the costs at this point to get the parts I love it by the way.....the design and ergonomics and the feel of the Aaton...glad I bought it -
ARRIFLEX 16SR 3A £2,500 GBP (ex VAT) Condition: Used Warranty: 3 Months Op hours- Various ARRI SR3A Camera Body Ground Glass SR MB17 ( B) 4" Matte Box + 4x4 trays French Flag Support Set of Mattes MB17 Top Flag SR LWS-2 Lightweight Support Donut 87mm 80mm insert ring Extension Viewfinder (Standard) SR3 Camera Battery Adaptor 24v/12v On-Board Adaptor Shutter Key (Fitted) Sr3 IVS PAL SR3 400'/122m Magazine x3 If you require any further information, please email me at Casey@esbroadcast.com.
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With new awards and global tours, the Edinburgh Short Film Festival is a highly pro-active festival with over 20 screenings across the world AND Also offering cash prizes and industry mentoring to the film-maker who wins the Best Film AND the best Animation at this year's ESFF! We're also curating for film festivals across the world including Barcelona, DC Shorts in Washington, Fastnet Film Festival in Ireland and the Sardinia Film Festival and the winning films would be included in the programme for our international events and screenings. But the Deadline is fast approaching for entries: Monday June 26th 2017: http://www.edinburghshortfilmfestival.com/call-for-entries/ -
Hey guys, As my last quest for Aaton accessories on here proved successful, I thought i'd try my luck again in my search for some 15mm Aaton XTR screw in aluminium rods. Would anybody happen to have a set lying around? Ideally looking for the short ones, but not the 4", 6 would be ideal. Thanks, Nick
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Hi there! Last night I watched "Kiss of the Spiderwoman", in which there are beautiful, dream-like sequences where it appears the crew was filming in daytime (there are clearly shots of the sun), but the overall effect resembles super bright moonlight due to their filming in black and white. At least I believe they are filming in black and white - in one scene it changes to colour halfway through, so perhaps they were using colour film with a filter of some kind? I am a student, so I'm not sure of all the techniques available to get the effect. I have attached some pictures so you can see what I mean. Sorry they're so LQ! Anyways, I found this effect beautiful, so I'm wondering if any of you know how I would emulate it? What film stock to use, what lighting set up, settings on the camera... anything helps! Thanks! P.S. The cinematographer for this film was Rodolfo Sanchez, in case any of you are familiar with his work!
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Dear DPs, If you see this young generation of filmmakers (Quentin Tarantino, Christopher Nolan, J.J Abrams), they keep shooting their movies in film like Martin Scorsese, Steven Spielberg, … Does it mean that today, we can't get the feeling, the grain, and the warmth of film in digital ? The response is maybe in the question, right ? But I would like to know if there is a DP who tried to get this feeling of film (35mm (ex: Eastman 100T 5247),70mm (ex: 65 mm Eastman 50T 5250) in digital, especially with the Red Weapon 8K S35 ? And of course with the appropriate lens. Thanks Jean-Marc -
Hello everybody, I was hoping to find the Kodak Super 8 film camera at the NAB2017, but I haven't have any luck. Does anyone knows what happened to that project? MOY
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https://www.youtube.com/edit?o=U&video_id=uIBao_l90wo A struggling engineer accidentally distorts time and receives a life altering transmission from a mysterious woman claiming to be from the future. Its unlisted so I can enter it in film festivals. Tell me what you guys think. Its like 90% done because I have to clean up some audio. Its my first film I've done and Im excited about it! The actors in the short are first time actors. BTW it has a 80's music theme. -
Aaton XTR Prod S16mm Camera Package All components have just been serviced and in great working order. From rental inventory and has been regularly maintained for the life of the camera. I have 2 comparable packages available. Package Includes: Aaton XTR Prod S16mm Camera Body VR46 Color Video Assist 1.78 Ground Glass Standard Viewfinder (short) Heated Eyecup Extension Finder Carry Handle w/ 2 Aaton Tools Right Side Grip w/ Start/stop 15mm LWS Right Ride Rosette Dual Rosette Grip Extension Arri 15mm Studio Baseplate 2x 6" 15mm Screw Type Mini Rods (not pictured) 2x Coiled Eyecup Heater Cables 8" 2pin to 2pin Start/stop Cable (not pictured) Mag Port Cover Lens Port Cover 3x 400' XTR Magazines w/ Throat Cover Flight Case For Camera Body (ATA Style) Flight Case For Magazines (ATA Style) $3895 I have On-Board batteries and chargers available upon request (fresh re-cell at time of sale). NP-1 style battery adapters that allow use of modern NP Li-Ion batteries as on-boards. Additional 400' and 800' magazines. Large selection of high quality used S16mm Primes and Zooms. Please PM with questions. Located in Hollywood, CA. I am happy to demo the camera in person. Willing to ship at purchasers expense.
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Hello I recently picked up a Canon 814 XL and I have many questions about film speed and manual exposure. To start, Most of the time I'm going to be using Kodak film stock. 50D 200T 500T I understand these are ASA speeds correct? I read my cameras manual and i noticed that it does not read any of these film speeds. Artificial - 25 40 64 100 160 250 400 Daylight - 16 25 40 64 100 160 250 My question is, What will my camera read it as then? What does this mean for my auto exposure and manual exposure? I've read some things in these forums about over exposing manually or underexposing, if thats the case, how do i go about doing that? If someone could explain f-stops to me, or refer me to a video or something that would be great! I've seen a few videos on the subject but I'm still a little confused how f-stops and film speed coincide, and how to underexpose and overexpose, things like that. Another question. I've read about a notch hack that you can do to the Tungsten stocks to disable the filter. My question is, Why would you want to do a notch hack on a Tungsten stock when the internal filter corrects it for you?
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Hey everyone! I would love to hear your feedback on my latest film. This was a translation of my time spent in Baltimore and Washington during the trump election. I wanted to show the viewer what it felt like as I was waling through the streets during this incredibly tense time in Americas history. http://www.freshfinishmedia.com/canadian-filmmaker-washington-election/ -
Hey Guys, I've recently become the proud owner of an Aaton XTR Prod, however the camera unfortunately has a few items missing, which i'd like to acquire. With that said, i'm on the lookout for original Aaton accessories including: - Walnut handgrip & cable - 2x screw in 15mm rods (short) - Heated eyepiece cable As the purchase of the camera used up a fair amount of my budget, i'm looking for reasonable prices, however I completely understand that these are getting harder to come by, so happy to play fair. I also have a few accessories that I don't think i'll be needing - such as the Origin timecode device, that i'd be happy to swap if people are searching for one (tend to slate anyway). I'm based in the U.K, if that helps too. Thanks! Nick Lee-Shield www.nicholasleeshield.com
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Ok, more than ONE question, I admit! :) I am a VERY beginning filmmaker who has not an iota of filmmaking and directing experience. Yet I have the dream of creating this huge, complex, well-polished independent short film using motion picture film and professional movie cameras. I am tempted to laugh at myself and say to myself, "Dude! You have no experience! Snap into reality and realize: you will not make this film and make it how you want it, without some type of filmmaking, directing, and cinematography experience." I am sure that is true and so.... I have no video camera except a cheap phone that has barely any memory on it so that is not an option. I do not have the money to buy a DSLR with video capabilities that I could use, either. BUT, I do have a Super 8 camera that someone gave me. So I figure, why not work with what I've got?! So, for any people out there who have made, or like to make, Super 8 films, what would be the best quality, least-grainy super 8 film out there? I would want it to be as clear and as close as possibly to standard 35 or 16mm as I can get, color-wise as well. I am guessing that the only way to do cuts is in-camera, correct? My camera has a tripod mount which I think is AWESOME, as I will definitely be using it! I am wanting also to do slow motion and time-lapse with the film, which leads me to my main question! Am I correct in guessing I would have to do that post-filming, using an optical printer?
