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Found 3 results

  1. Hi, I'm planning on applying to a film school this summer, for a directing course. My main focus has always been directing, with cinematography being both a fascinating hobby and something I've had to do for the ultra low budget films I've made. Now, the requirements are that you submit at least two films, of which at least one "made on film (16mm, super 16mm or 35mm)". I've got plenty of digital films to submit, but nothing on film. So I have to make a new one. I've never shot anything on film and, as much as I'd like to have this experience, it would be very expensive. Even with
  2. Hello everyone, I have researched online and can't come to any solid conclusions about how sound design and/or mixing is done when you're working optically. For instance: I'm making a movie and seriously considering taking it the full photochemical route, ie. shooting on 35mm scope, processing the film at Fotokem, getting a work print made (no DI), cutting the film on a flatbed, conforming the negative, timing the answer print, and striking a release print. The idea is to keep my movie completely off a computer. But the thing I can't seem to wrap my brain around is the audio part of
  3. Hello, all. Tommy at Video & Film Solutions transferred the 35mm blowup of my first short film (and Tommy is a great guy who does great work) and as expected, it has some spots. Long story, but in the blowup process all 2,300 or so frames have 3 to 5 specs. They are in fixed locations so normal DNR cannot be used.And yes, they are crazy distracting. You might wonder why I didn't transfer from a 16mm print. Well, I don't have one. To save our budget we had a 35mm blowup made directly from the negative. I have the 16mm negs in A B C rolls and transferrinf them means much more money (
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