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  1. Hello community, I am extatic to be a part of this forum. I am a recent gradute with a Bachelors of Science in Communications Technology consentration in Video Production from the New England School of Communications. I now reside in Las Vegas and have been looking into seeking a higher education. A few programs I have considered in my search are Bachelors in Film and Masters of Fine Arts in Creative Writing to name a few. I have several goals I wish to achieve in my life time in the film industry, which include being a cineamtographer and writer to name a few. I am very very interested in furthering my education but want to make sure i get the proper degree that will help me get a job and not just look good on my resume. Can someone please assits me with some advice on this matter, and any degrees or programs that you know of that will be beneficial for the job market of the future. Andrew McQuinn Cinematographer - Writer - Director - Editor
  2. £449 ARRIFLEX 16S + 2 MAGAZINES (8V) + ORIGINAL ARRIFLEX MATTEBOX + ORIGINAL 8V MOTOR + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in good condition. Magazines have some signs of use and acrylic pieces (on footage meter) cracked, but does not affect performance. Serial Number: 6587 £499 ARRIFLEX 16S + 2 MAGAZINES (1 12V, 1 8V) + ORIGINAL ARRIFLEX MATTEBOX + TOBIN TCS TM23 + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in very good condition. Magazines have some signs of use and both acrylic piece (on footage meter) cracked, but does not affect performance. Serial Number: 8467 PLEASE CHECK DOCS ATTACHED WITH PICTURES. CAN SHIP WORLDWIDE. WOULD LOVE TO KEEP THEM, BUT NEED THE MONEY.
  3. This is my IB Film Studies final group project. I wrote, directed, produced and editted it. Please let me know what you like about it and what I can do better next time I make a movie. Thanks! http://www.youtube.com/watch?v=a0iQVVK3q8g
  4. A friend of mine recently contacted me to say he had been rebuffed in trying to place a large individual order of film directly with Kodak UK. Like a number of individuals he has bought direct from Kodak UK for years but now Kodak UK has told him he has to go through a UK reseller and this came with no warning. Does anyone here know if Kodak UK's policy on selling direct for large individual orders of either 8 or 16 mm within the UK has changed and are they only going to sell via resellers even if the individual order is a large bulk order? If this is what Kodak is doing then is this a useful way to support the market? Buying direct from Kodak means a good deal on pricing through bulk buying, but going through a reseller at the retail to semi professional end of the market means individuals with the get up and go to buy large amounts of film may now have to pay more. Now don't get me wrong its good to support UK resellers and if Kodak UK is seeking to support UK resellers and the retail to semi professional market for film in the UK that is to be commended but if Kodak UK is now making every individual go through a reseller that doesn't actually grow the market for film within the UK. As individuals we all have finite means and if you and I have to pay more then we will end up ordering less stock i.e. at the end of the day Kodak will make less money. The other thing is since the demise of Stanleys here in London resellers here are not geared up for large orders such as what my friend was after unless you go up the chain to the likes of Panavision UK (and lets face it they are very, very unlikely to bother themselves with 8mm if you are a 8 mm shooter). We have some good activist, retail based resellers in the UK (bordering on heroic at times given the situation these past few years) but there is not the means nor the will across the market to grow it across the UK i.e. mostly you see a few rolls sitting by themselves on a shelf and no attempt to market them. Do people here have any ideas or suggestions as to how individuals could place large or bulk orders for film here in the UK or Europe if Kodak UK has changed its policy e.g. would it be possible to buy direct from Kodak in the US or Kodak elsewhere if the order was large enough?
  5. Hey folks, Slightly urgent issue here. I've just loaded an SR3 magazine and when I close the first door the film advance wheel (not sure what it's called) is very hard to wind. The other two I loaded spooled the film out quite easily. Should there be a lot of stick when winding the film out? Cheers for the help.
  6. Hey gang, I've got a roll of expired Kodak 500T EXR 7296 in my fridge here that I'd love to shoot. Trouble is it's a) pretty freaking old and b) probably hasn't been kept in a cool, dry place for a large part of its life. This particular film was discontinued in 1995 but could have been made anytime between then and 1989. Naturally there are too many variables to really know how it'll look but is there anything I should keep in mind if I want to shoot it? Rate it faster? Slower? Any thoughts would be great. Cheers, James.
  7. (BYDGOSZCZ, Poland) - Kodak is hosting back-to-back conversations with renowned cinematographers Sean Bobbitt, BSC and Bruno Delbonnel, ASC, AFC at the 21st edition of Camerimage, the international film festival of cinematography, on November 21 at 7:00 (CMT) in the Opera Nova, first floor seminar room. Both Bobbitt and Delbonnel have films competing in the main competition: Steve McQueen's 12 Years a Slave and the Coen brothers' Inside Lewelyn Davis, respectively. Each discussion will be followed by an audience Q&A. Bobbitt, a BAFTA and Emmy® nominee, recently shot Killing the Messenger, The Place Beyond the Pines, 12 Years a Slave, Shame and Hunger. The latter three of those movies were done with McQueen. Delbonnel collaborated with director Jean-Pierre Jeunet on Amelie and A Very Long Engagement, and earned Oscar® nominations for both films. His credits include Dark Shadows, Harry Potter and the Half-Blood Prince, The Cat's Meow, Infamous and Across the Universe, which garnered the Silver Frog at Camerimage in 2007. "Camerimage is a wonderful opportunity for the cinematography community to share ideas and philosophies, as well as celebrate the art itself," says Andrew Evenski, president of Kodak's Entertainment Imaging business. "We are proud to be part of the 20-plus year history of this unique festival." This year's festival opens November 16 with a screening of Saving Mr. Banks which was photographed by John Schwartzman, ASC on Kodak film. For updates on what is happening at the festival, follow Kodak on Facebook and Twitter. For more information about the festival, visit http://www.camerimage.pl, and for more information about Kodak's motion picture films, visit www.kodak.com/go/motion. (Note: All participants are subject to availability) # # # About Kodak's Entertainment Imaging Business Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Media Contacts: ignite strategic communications Sally Christgau: direct 415.238.2254 / sally@ignite.bz Lisa Muldowney: direct 760.212.4130 / lisa@ignite.bz
  8. In anticipation of World Day for Audiovisual Heritage, filmadvocacy.org posted the following page: http://www.filmadvocacy.org/2013/10/25/unesco-world-day-for-audiovisual-heritage-choices-rights/ on Friday. Some interesting information in there, here is a quote from the page: "It is of the utmost importance that filmmakers around the world continue to have the ability to choose the mediums and technologies that best support the preservation of their works into the future. Well-tested and proven technologies that facilitate this goal must continue to remain available. UNESCO World Day for Audiovisual Heritage on October 27th, 2013 is an opportune time to highlight the critical importance of maintaining choice in how audiovisual works are preserved and presented, framed in terms relevant to the artistic rights of filmmakers. Article 19 of the United Nations Universal Declaration of Human Rights 1948 guarantees the Right to Freedom of Expression for all and underpins the right of filmmakers to choose the mediums by which they communicate their ideas through their works. This extends from production and postproduction, through exhibition and into preservation. Article 19 of the United Nations Universal Declaration of Human Rights 1948 Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers. It follows that attempts to limit choice of medium, to restrict diversity, and to narrow options in this area are not only culturally damaging and unjust – they contravene fundamental human rights." The above is just a part, you should read the whole page and the associated links before forming an opinion.
  9. Hi all, i am heading to the Patagonia in a couple months to start production on an installation piece i am working on - i am shooting film footage on a 16mm Krasnogorsk-3 movie camera and wanted to get some tips or advice on what colour films that you might suggest for such a project. i am taking landscape shots which i plan to project and play on loop in slow motion to the point where the movie footage will appear to be a 'moving photograph' I'm based in Sydney and have done a small amount of research and have found a lab in victoria that offers Aviphot 200asa at 100' for $45au. does anyone have any experience with this film? or would you recommend it for landscape shots? any advice on this would be really greatly appreciated. thanks very much.
  10. I want to get my boyfriend a Super-8 camera for his birthday but I have no idea where to start. He is an editor for a film company and in so knows a lot about film cameras and he knows a lot more about Super-8 cameras than I. Basically I just want to know what is the best brand? And how should I go about getting film for it? Any information you think would be helpful, please share. Thanks!
  11. Link: http://www.indiegogo.com/projects/deep-sleep-short-film/x/268202 Deep Sleep is a short film about a self-loathing teen, Derek Harper, who's sick of his severe idiopathic hypersomnia (sleep addiction). He lives in a generic apartment, and works at a late-night cafe for free coffee to keep his life somewhat moving. His one and only friend Hay Tyler, helps him find the answers to his condition. You're important because you guys are the most vital part of the film. You determine whether this film will be good or bad. Your funding determines how much creative freedom we have, and how close we can tell this story to its envisioning. You are even more important because you're the key to the film's success. Not only will you help me make a beautiful film, you will get me further to my dream. Why Is It Important To Me? 'Deep Sleep' is an important project to me not only because its the most biggest challenging project I've tackled so far, but because it can be a film that can allow me to prove my talent and potential as a filmmaker. When I went and saw 'Inception', I had no idea what it was about really, and went into the theater unexpected. As the film finished, and I walked out of the theater, a feeling came over me that inspires me everyday. I was completely blown away. I want to create that same feeling in everyone of my films. Thanks for taking the time to read this, it is deeply appreciated. Please take a second or so and spread the word around about this project. It needs it! Thanks again, Will Jacobs Actor, Director, Writer, and Producer of 'Deep Sleep'
  12. Dear friends, I updated and redesigned the site, I would like to hear your comments. Be free to watch the showreel as well. Regards, www.vedranrapo.com
  13. Hey guys, Apologies if it's been covered already. I'm in talks with a post house here in Melbourne, Australia to get some 16mm film scanned to a 2K ProRes file so I can edit it. She is telling me that the telecine process is $450/hour then the 'digitisation' is an additional $250/hour. I was under the impression that telecine IS the digitisation of film? Am I wrong on this one? Is it a two stage process? If it is then what would be the point of doing a telecine without the aforementioned 'digitisation'? Thanks again!
  14. Hi Everyone! Looking for some information! I'm an Australian researching a move to Europe to study script writing. My two passions are actually script and set design and I'm looking for film schools that offer great hands on courses. I completed my undergraduate degree with a minor in film and am now looking for some further study opportunities to expand my script writing experience. It doesn't have to be a master's, just an opportunity to write and make new connections in film. Thanks for your time! Kind Regards, Adrianna
  15. Hello everyone, I am new to the forum and was hoping that someone on here would be able to assist me in my quest to apply for Panavision's College Internship Program. I have tried contacting Stephanie Lyons at their Hollywood location, however, my attempts have be fruitless. I am currently a Senior at the University of California Irvine and want to learn about their cameras, as well as 35mm film cameras as a whole, preferably from the grunt-work up. I would like to have an old fashioned mentorship-styled environment where a master of the craft can show me the ropes cleaning and lugging around different pieces of equipment, however, I'm not sure how realistic my hopes are. If you have any information about the program or know anyone who does, I will be eternally grateful.
  16. THE OUT OF ORDER TOUR WITH ROSS HOCKROW Storytelling and the Editing Process The Out of Order Tour teaches students how to create captivating films through the editing process by focusing on two key concepts: 1) the use of “out of order” storytelling techniques (non-linear storytelling), and 2) how to make decisions about where pieces go instead of simply how to move them into place. Taught by filmmaker, author, and educator Ross Hockrow, this all-day workshop teaches you how to assemble each moment in your film by integrating storytelling theory with specific, practical editing techniques. Designed for the beginner and intermediate filmmaker, the class shows you how to unlock the full potential of your footage by utilizing the principles of story structure, narrative bases, shot selection, pacing, and the psychological effects of shot placement. Ross Hockrow is an award-winning filmmaker, innovative educator, and published author. He has directed 6 feature-length indie films and several short films, the latest of which won the audience choice award for the 2013 48hr Film Festival in Providence, RI. Ross started his career as a screenwriter, and several of his screenplays were optioned by major film companies and television networks. His filmmaking abilities stretch beyond narratives and into commercial work, where he was hired by Fortune 500 companies Skype and Expedia to make on-site event films for their annual company conferences. Ross, an Adobe sponsored speaker, pioneered live filmmaking education with his Get in Motion Tour in 2011—the industry’s first-ever educational workshop tour created exclusively for filmmakers. During the past three years, Ross lectured in over 100 cities during two international tours, and taught platform classes at several major industry tradeshows— appearing at NAB, CES, WPPI, PPA, Photo Video West, Photoshop World, Photo Plus East, and Photo Pro Expo. The Daytime Storytelling Through Editing Workshop begins with an overview of specific types of stories by outlining types of conflict, variable act structure, and plot structure. Ross will explore the concept of non-linear storytelling—telling a story out of order— and will demonstrate several options for rearranging the order of a film to create a better and more intriguing story. Next, you will explore the concept of how to make the viewer experience a film instead of just passively watching it. Finally, Ross breaks down the techniques necessary to effectively edit a conversation, and the importance of creating a constant feeling of anticipation within the viewer through masterful editing. The Evening Editing Techniques Seminar begins with an intensive, step-by-step overview of the complete editing process. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Ross then demonstrates his technique for achieving perfection in cycles by focusing on a circular editing process, showing how to subtly discover and constantly enhance the rhythm, pace, and emotional tone of your film. Ross will show you how to use audio and will outline the process of choosing and incorporating a soundtrack into your film. To finish the film, Ross will teach students the principle of “cutting out the fat,” the process of applying subtle tweaks to reduce the length but increase the impact of your film. Daytime Workshops and Evening Seminars take place on the same day, with workshops ($149, up to 100 students) running from 9:00 AM to 4:00 PM and seminars ($59, up to 200 students) running from 5:00 PM to 9:00 PM. A combo ticket costs $199 and includes Ross’s book Storytelling Techniques for Digital Filmmakers, a DVD of the Daytime Storytelling Theory workshop, and a take-home editing project. If interested check out the tour website www.outoforder.com or email antonio@montezucker.com
  17. http://finearts.concordia.ca/officeofthedean/jobpostings/digital-cinema---film-production.php Roy Cross, MFA Associate Professor, Head, Film Production Programme Mel Hoppenheim School of Cinema Concordia University 1455 boul. de maisonneuve ouest Montréal, Québec, H3G 1M8 514.848.2424 ext 4659 cinema.concordia.ca roy.cross@concordia.ca www.roycross.com
  18. Hello all -- Posting this on this forum in case anyone is interested. The buy-it-now on ebay is no longer available but I will let this one go for $2799 and end the auction early. It's a real steal at this price and am letting it go for cheap. http://www.ebay.com/itm/ARRIFLEX-Arri-SR3-Advanced-Super-16mm-Film-Camera-PL-Mount-S16-/271279445838?pt=LH_DefaultDomain_0&hash=item3f2983d74e Great camera, but there are a few quirks that are cosmetic don't effect the image quality or ergonomics, but I'd prefer to have a camera in better shape, that is why I'm letting it go. Here is a video of it running recently (9/15/13) : Item is located in NY and will ship domestically. Contact: ekyfilms@gmail.com ---- For Sale Arriflex SR3 Advanced Super 16mm Film Camera All items included with this item are pictured. Besides a few cosmetic wear marks this camera is in working condition. This was recently tested at a camera house (9/15/13) and is fully operational and works as intended and runs smoothly. A video can be sent of the camera running. Included items are: • Arriflex SR3 Advanced S16 film camera body • (2) 400 Foot Arriflex SR2 S16 mags • Arri SR3 Handbook • Light-weight Flightcase • 20/80 Prism For a Videotap (no port cap) Features of this camera include: • 5 to 75 fps • Manually adjustable Shutter angles 180°, 172,8°, 144°, 135°, 90°, 45° • 54 mm stainless steel PL mount • Heated Eye Cup
  19. Hey im still in highschool just going into grade 12 i live in canada and was wondering which film school to go to. I know the everyone says that Ryerson is the best in canada but i just feel like its more theory then hands on (i know that you do do films and such but not as much). My other thoughts were the new york film academy in the US and the national film and television school in the UK. I feel like those schools are a lot more hands on and getting set experience when ryerson is more this is how film began kinda stuff. So my question really is is it worth the extra money to go to a film school outside of canada? Thanks, Eric
  20. Dead ED - Hundreds of years after a nuclear world war, Khan and his companion, a service-droid, ED set out to purge the nuclear wasteland free of radiation. Friendship is tested and temperance is stretched when the two are pushed to their limits in the deadly country. Hello fellow filmmakers! We are film students who are creating our first independent movie titled DEAD ED. But we need help. We launched a Kickstarter to help secure funds for the project, and we need an extra push. Please help us out by donating or sharing the page. Every little bit helps. www.kickstarter.com/projects/634010533/dead-ed Thank you!
  21. Dan Grove

    RED Dragon

    Really want this. Someday. Anyone own this?
  22. Hello everyone, I'm new to the forum, after a year of insane work, I finally finished my 20 minute Action/Thriller short film PREY. This is the biggest project I've done so far and it really means a lot to me. So please take some time to watch it and let me know your honest opinion. Every review means the world to us. Thanks again!
  23. I have a couple of Arri magazines for sale on eBay. Displacement mags for ARRI 35mm IIC type camera ~ fits most ARRI MOS cameras. They are in excellent working condition ~ never had any problems with jams or scratches. See auction here http://www.ebay.com/itm/231026612284?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Have one more to sell when this auction ends.
  24. Hello every one. I shot this film in a Nikon r10 . The camera hasn’t been used in 32 years so… as a result of these tests, I will get it checked as far as the lens and the mechanism goes. The thing is, I did expected to see some grain, but this is excessive right? The B&W is a reversal 200 ASA, and the color one is a Negative 250 daylight. I did use the auto exposure meter built in, in the camera. I shot it at 24fps and 59 fps (the b&w). Got it transferred at pro8mm and color corrected scene – to –scene. So, if any one can share his or her ideas, pls do. I want to know what I did wrong not to repeat it again. Thanks every one. this is the link to the video of the film
  25. Andrij Parekh is one talented guy, and he's young too. There's hope. Not as big of a Ryan Gosling fan as my 21 year old sister, but this is still good, regardless.
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