Search the Community

They got the film; you just need the $$. Where are you with film in your work? If you work in digital and film, what percentage of each comprises your work? Here is a PDF snapshot survey of B&H's 16mm inventory made on 2.8.2026. (1 film is not on PDF) Survey of 16mm Movie Film B&H Photo D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I'm in the midst of reading the David Lean biography which has been fascinating, particularly learning how he started as an Editor (and quickly became regarded as Britain's best by many). I'd strongly recommend it to anyone interested in the man. In conjunction with reading the book I'm taking the time to watch his filmography too, starting with 'In Which We Serve'. I've just finished and one of the things that caught my eye was rippling dissolve effect they use when transitioning from the scenes of the men in the water to the flashbacks. I've tried finding it on YouTube but although the full film is there the quality is not very good. ​If anyone remembers the effect I'm referring to, do you also know how it was done? I've done some research and there seems to be multiple possibilities but I couldn't find anything concrete. Thanks in advance.

Hello all, I have a bit of a dilemma with a scene I am shooting where the director would like the lighting to change from night to day in one shot. The shot is in a (small) kitchen on a mid of a man sleeping at a table. We have a 400w HMI, 2k blonde as well as an 800w fresnel and 2 650's. We don't see the window in this frame which does help out a little. I was thinking of simply blacking out the window and then slowly letting the light come through starting at the top and moving down so the daylight hits the top of the ceiling first and then spills down to fill the room, then re creating the night light from outside, inside with one of the smaller lights. Does this sound like the right idea for the given situation? We could alternatively shoot when it's dark outside and then fake the daylight. Any comments would be much appreciated. Thanks, Tom