Groups | Search | Server Info | Keyboard shortcuts | Login | Register [http] [https] [nntp] [nntps]

Groups > comp.lang.javascript > #65879

Get-film Back Shot 4

Show all headers | View raw

I have just loaded in a 35mm film to my camera (basic Canon point and shoot) but the back accidentally opened. I haven't taken any pictures yet, is the rest of the film okay because it made that noise it makes when you first put in a roll of film.



Get-film Back Shot 4

Download File https://xiuty.com/2wR1cv 






In this case, the film exposed to light when you open the camera is the film you've already exposed - photos you'd taken up to that point might be gone forever, but luckily in this case you hadn't taken any yet. Film still in the cassette is safe to use, but the part where the next frame was going to be exposed (in position 2) is now useless. Take a couple of "nothing" shots to wind fresh film out of the cassette, then carry on with the rest of the film. Note that the counter might reset when the back opens, so the film might run out sooner than you expect.


In a few cameras, the direction is reversed: when the film is loaded, the whole film is wound into position 3, and then with each frame, it's pulled back across to position 2, exposed, and stowed into the cassette. This is relatively rare, but is most common among late film era compact point and shoot cameras that automatically wind the film with a motor, and would probably be visible when you opened the camera.


Trilogies are common in the film industry, particularly in the science fiction, fantasy, action, horror, thriller, and adventure genres. Production companies may choose, if the first film is a financial success, to green-light a second and a third film at the same time and film them back-to-back. In a case where a lengthy novel is split into multiple installments for its film adaptation, those installments will usually be filmed back-to-back.






The advantage of the current system is that film studios no longer have to bother either with paying people who are not involved in a current film production, or with green-lighting films very frequently so as to efficiently exploit sunk costs in their human resources. Studios shifted from a emphasis on "speed in production" to "more cooperative pre-shooting planning."[2] But now, when they want a particular person for a film, that person may be unavailable because they are already committed to another film for another production company for that particular time slot. In turn, for every single film, studios (and ultimately their investors, shareholders, or backers) end up bearing massive transaction costs because they not only have to get the right person at the right price, but at the right time, and if they cannot get that person, they have to scramble to locate a satisfactory substitute. All successful directors and producers have certain favorite cast and crew members whom they prefer to work with, but that is of no help to the studio if that perfect character actor, costume designer, or music composer is already fully booked. Compared to the previous system, directors and stars spend a much "larger part of their time negotiating each new film deal."[2]


The pioneer of modern back-to-back filmmaking was producer Alexander Salkind,[4] who decided during the filming of The Three Musketeers (1973) to split the project in two; the second film was released as The Four Musketeers (1974).[5][6] The cast was quite unhappy to be informed after the fact they had been working on two films, not one.[5][6] As a result, the Screen Actors Guild introduced the "Salkind clause," which specifies that actors will be paid for each film they make.[5][6] Salkind and his son Ilya went on to produce Superman and Superman II back to back.[5]


I hate the 10th shot on my RB67 because I always bracket one above and one below. So I get 3x3=9 shots to work with, then the oddball 10th. I hate bracketing the last shot on a second roll so I just take my chances with the meter!

Originally posted ages ago. (permalink)

 Alan Klein 100 edited this topic ages ago.




a 645 back will get you 16 frames, but I have become infatuated with 6x7 format as well. 



I don't really miss those 6 frames per roll so far. I suppose it is a situation of quality vs quantity.

I actually enjoy the urgency of those 10 frames, it is such a different experience than with 35mm film (taking shots at the end of the roll just to kill it and go develop), and especially different from digital (unending aquisition and chimping, shoot -look shoot -look I grow tired of looking)

forethought is inherent with fewer frames and it seems to make the process of seeing and reflecting and taking pictures much more involved and emotionally engaging. I think it makes the experience of photographing more valuable because it heightens awareness of our intent within the constrains a limited medium. I cant remember the last time I got emotional over a lost frame or over a successful one with a digital pic, in fact I think the reward is that with a manual camera especially with 10 frames in 6x7 format, photography is difficult and elusive once again, I think in some strange masochistic way, that makes it fun and interesting. Digital just doesn't give me that excitement and appreciation for the moment just before the magic happens to dance across the focus screen.

ages ago(permalink)




Conveniently placed below the right thumb rest, you can quickly change shooting speed with the high frame rate button, zoom into the image with the magnifying glass, access setup menus and quickly play back shots for review.


The large LCD touchscreen displays critical information on the heads up display, or HUD, as well as access to camera setup menus. The HUD lets you see and adjust settings such as the frame rate, iris, timecode, shutter angle, white balance, ISO, audio levels and more with a single tap. You can show or hide the HUD by simply swiping up or down. Adjust settings such as white balance simply by touching the WB indicator, or change the audio levels by touching the audio meters. Everything is interactive, so you can tap any item and instantly change settings without searching through confusing menus! You can also access settings such as the digital slate, to quickly add metadata to any shot.


Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, thePocket Cinema Camera 6K Pro delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. You get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which you can use in post production. That means you get images that have a natural, film like response to color adjustments in post with DaVinci Resolve Studio.


Professional cameras include professional features and you also get a built in timecode generator, allowing shooting with more than one camera while keeping perfect sync! Simply plug in an external timecode generator such as Tentacle Sync into the 3.5 mm audio jack and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording and all the shots from all cameras will have the same matched timecode. Imagine shooting a music festival with multiple roving cameras! Best of all, DaVinci Resolve will automatically find and sync the shots from all cameras so you don't need to waste time sorting through thousands of shots!


In addition to shooting video, the Blackmagic Pocket Cinema Camera can also capture high resolution stills. Simply press the dedicated stills button to record 21.2 megapixel images on the 6K models or 8 megapixel images on the 4K model. Still images are saved as fully uncompressed DNG frames, so you get the maximum image quality, which is perfect for making professional prints. Capturing still images is great for keeping track of continuity between shots or for sharing images to get approval from clients that are not on set.


\"I'm with coworkers and we're on the floor praying to God we don't get shot, and the gunshots continue on and on, and when the sound finally stopped, we started to get up and people were just bleeding,\" another theatergoer said at the time.


Police apprehended Holmes in his car behind the theater within minutes of the shooting. He was found in full riot gear and carrying three weapons, including an AR-15 assault rifle, a Remington 12-gauge shotgun, and a .40 caliber Glock handgun. A fourth handgun was also found inside the vehicle.


The song itself is an energetic and emotional rollercoaster about the conflicting feelings of liking a guy who really doesn't like you back. The video highlights Rodrigo's artistry and talent and demonstrates the power of the iPhone 15 to create professional-grade content.


Apple collaborating with artists to boast about the abilities of its phone cameras is nothing new at this point. Last month, K-Pop group NewJeans released "ETA," which was entirely shot on the iPhone 14. Selena Gomez shot "Lose You to Love Me" on an iPhone 11 Pro. Even more impressively, director Steven Soderbergh filmed the psychological thriller Unsane on an iPhone 7 Plus way back in 2018.


The film was used as evidence in the case against Lee Harvey Oswald, who shot Kennedy from a sixth-floor window at the Texas School Book Depository. When the Warren Commission issued its report on the assassination in 1964, it concluded that Oswald had shot the president from behind.


A study published in the journal Helios corroborates that conclusion. Nicholas Nalli, senior research scientist at IMSG, Inc., created a model of the mechanics of the gunshot wound itself to explain where the bullet may have come from.


Wide shots are also known as long shots or full body shots. These frames put a more equal emphasis on your subject and their surrounding environment. Your character should take up as much of the frame as possible, while still fitting comfortably within the scenery.

 0aad45d008

Back to comp.lang.javascript | Previous | Next | Find similar | Unroll thread

Thread

Get-film Back Shot 4 Maegan Ilagan <maeganilagan842@gmail.com> - 2023-12-19 19:43 -0800

csiph-web