Hello Cathy,
TCS here in New York City services all of our Bolexes (and Arris) at The New
School. Ask to speak to Erwin, in repair. Best of luck with continuing to
promote film in your department.
Sincerely,
Caryn
On Tue, Oct 18, 2011 at 10:28 PM, wrote:
> hello frameworkers,
> in an effor
I definitely think there is a future for film as a fine arts medium.
But I do not think colleges should be teaching 16mm filmmaking to
every undergraduate in cinema. I write as a person who taught film
and video for 25 years. Students in cinema history classes should be
taught to apprecia
For Aaton, I would try Alan Giles of Camera Engineering in the U.K. He
was the best and dealt with my old Aaton (Ser# C-322) and did amazing
work with it. I know he had the old boards done (he has an electronics
wizard who found the blown components.) He also used to manufacture many
wonderful
Camera engineering website.
http://www.camera-engineering.com/
--
Steven Gladstone
New York Based Cinematographer
Gladstone films
Blog - http://indiekicker.reelgrok.com/
http://www.blakehousemovie.com
http://www.gladstonefilms.com
917-886-5858
___
Fr
but aren't 'media professionals' part of the problem? "those
kids who want to become media professionals" need to engage with
aesthetic/critical theory and ideology so they don't conform to the culture
of domination.
Rob
On 19/10/2011 18:40, "Sandra Maliga" wrote:
> I definitely think there i
Tonight, Wed Oct 19 at Pacific Film Archive, Berkeley, 7:30 pm, CVM presents
"Jordan Belson: Films Sacred and Profane."
A memorial, celebratory screening.
"Light Years: Paying tribute to Jordan Belson's cosmic cinema" in the San
Francisco Bay Guardian:
www.sfbg.com/2011/10/18/light-years
On Oct 19, 2011, at 12:40 PM, Sandra Maliga wrote:
> The aesthetics and techniques of
> film and photography can be taught using digital equipment.
Well, no.
It is interesting how many students suddenly get it re editing once they cut
film on a Steenbeck. What was a disembodied virtual pr
On October 19, 2011 4:25 PM, Jeff Kreines wrote:
>But even if students are going to end up in a world where there is no film
>being shot, a good education will still give them the experience of >shooting
>and editing film, because the lessons learned are greater than one might
>imagine.
Thank
In the NW, film camera rentals (16, 35) are still 30-50% of rental house
business. This would fit the somewhat narrow
definition of "media professional".
Alain
--
40 FRAMES
Alain LeTourneau
Pam Minty
40 FRAMES
5232 N Williams Ave
Portland, Oregon 97217
USA
+1 503 231 6548
www.40frames.org
www
Amen, Jeff. The discipline aspect of a celluloid education is
something I've found invaluable. I can't tell you how many "media
professionals" I've worked with who press the record button on the 7D
and then proceed to tweak lighting or chose a different frame.
Meanwhile, cast and crew are standing
Any leads on processing an old 8mm stock of GAF Anscochrome II?
--
hypnotic visions - huckleberrylain.net
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Hey folks,
I have a question about eyemo cameras...
if I buy an eyemo camera will i likely be able to find anamorphic
lenses for it? any leads?
also... does anyone know if they can be machined or set up to shoot 2
perf 35mm instead of 4 perf?
just curious...
also if anyone has experien
Hey everyone!
We're now accepting submissions for the 19th Chicago Underground Film
Festival which will be held this spring in Chicago. We're looking for
experimental, narrative and documentary shorts and features (animation
too) in just about every film or video format you can imagine.
We don't
Eyemos are essentially 35mm Filmos -- bulletproof but limited by short spring
running time and lack of a decent viewfinder.
2 perf not a likely conversion though some might exist. You can find motorized
crash-cam versions (someone in Vancouver used to make one) and some have Nikon
mounts added
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