The streaming space has something new to offer every weekend, often leaving viewers spoiled for choice. A few days ago, Amazon MiniTV released a short film titled Gray, starring Dia Mirza and Shreya Dhanwanthary. The 30-minute short film that revolves around consent shines a light on the concept with an empathetic vision. Pinkvilla sat down for a brief chat with the short’s two main actors, Dia and Shreya, who are the focus of the story. We talked about consent, why the script spoke to them, and how much the space for female performers has changed. Read interview excerpts:

Directed by Sakshi Gurnani, Gray is about consent. How important do you think it is to have a female point of view on such topics?

Shreya: With a concept like consent, it’s a black-and-white concept. But because we don’t talk about so many things in our country, whether it’s gender, boundaries, body image, when an uncomfortable situation arises with someone we know, I don’t think we’re equipped with the tools to manage this situation. So when a movie is trying to shed some light on something like that, having an empathetic voice really helps. This is a situation that women face most often. So that helps.

Diameter : I generally try to avoid assigning a genre to a lens from which any narrative is viewed. I think there are men who are perfectly capable of looking at things with great empathy and sensitivity. But, I think, it’s definitely been a huge plus for Sakshi to have directed this narrative. It is an experience that women most often have and it is good that a woman told this story.

What spoke to you the most in this scenario?

Diameter : The story itself and the fact that it’s not typical. The nuance and simplicity of the narrative really touched me and the fact that this is a subject that really needs attention. Also, the way he was treated. These are the aspects that really attracted me to the project. I was glad Shreya was on board. She is a very intelligent and fine actress. I really learned to love her, her work and the choices she makes.

Shreya (laughs): Dia makes me sharminda (shy). The script and the story were in a gray area where we probably all found ourselves at some point. Even if the concept of consent is black and white, people do not know how to recognize a “no”. It focuses on a particular incident, particularly with someone you know. I think it’s important that something like this exists and we are nevertheless taking a small step forward.

One thing you learned about each other while filming for Gray?

Dia (laughs enthusiastically): I didn’t know Shreya had a photographic memory. She can read 6 pages of dialogue and remember every word. She’s also an amazing singer. I discovered her because she was embarrassing my life by singing songs.

Shreya (intervener): There are other things too but they are NSFW.

Dia Mirza is exactly what I had imagined. I said earlier it feels like a safe place. For someone who epitomizes safety and warmth, that would be the photo of Dia Mirza – smiling and a pretty face with the word “warmth” written next to it.

Priyanka Chopra recently said that at first the women were pitted against each other and the casting was based on the male lead. Dia, have you witnessed this since you started back then? How is it different for you today?

Diameter : It’s pretty much the same today. Unfortunately, the majority of men still control the industry. Little has changed. I think what digital media has done is at least opened up opportunities for us. We get space to be part of stories we really want to be part of.

I feel like digital media has democratized the space a lot more. So at least now we’re not ruled by the box office and things like that…which determines the selection process. Shreya is a perfect example.

And Shreya, your initial journey was very different from Dia’s. Today, screenplays are written only for women. How do you see this change that has taken place?

Shreya: The digital medium has not only changed this aspect, but it has also increased the size of the cake. The cake is bigger for everyone. Previously, I feel that access was a bit restricted. Thus, those who had a lot of luck, privilege and tenacity would come out on top. The playing field is now huge and the opportunities in front of and behind the camera have multiplied. Our sense of discernment must improve so that we can have much more quality than quantity.

Future plans?

Diameter : I am currently cycling for Dhak Dhak and have already learned to ride a bike for it.

Shreya: I do Chup with R Balki and Adbhut with Nawazuddin Siddiqui and Diana Penty. Both films are different and you will like it.

Shreya, do you consciously choose intense roles? Or are you ready to make fun, airy characters?

Shreya: I want to do everything but no one looks at me and says, “Chalo, we’re going to give him something fun. In fact, pleasure is very difficult to represent on screen. Now I’m a little worried…

Diameter : I think it will be totally effortless for you because I think you are inherently a fun person.

Shreya: But no one knows.

Diameter : I’ll tell them everything, don’t worry.

Shreya: There! Next work because of Dia Mirza.

ALSO READ: Dhak Dhak: Dia Mirza previews her perfect start to the day as her son Avyaan accompanies her on sets; PEAK

SAN DIEGO (KUSI) – The “GI Film Festival” opens today at the Museum of Photographic Arts in Balboa Park.

Tuesday, May 17, 2022 is the opening night of the GI Film Festival San Diego at MOPA.

Opening night tickets are $25 for general admission and $20 for military, veteran, or KPBS members. All tickets can be purchased online at GIFilmFestivalSD.org.

On Good Morning San Diego, KUSI’s Jenny Milkowski was talking to some of the filmmakers showcasing their work this week.

She spoke with Mark Pedri, director, and Carrie McCarthy, producer, of “Dear Sirs”. “Dear Sirs” is a 92-minute feature-length documentary that details the horrific experiences of prisoners of war during World War II and shines a light on the stigma surrounding post-traumatic stress (PTS) and military mental health.

She was also able to chat with Jodi Cilley, founder and president of the San Diego Film Consortium, and Benito Bautista, producer of “A Long March”.

Finally, Jenny spoke with filmmakers Scott Campbell, director, and Aaron Neely, subject of the film, about “Down on the Ranch.”

“Dear sirs” https://www.youtube.com/watch?v=Cui3PnUmDcI”

“A Long Walk” https://gifilmfestivalsd.org/2022/movies/a-long-mars/

“Down the Ranch” https://vimeo.com/688714812

For more information visit: GIFilmFestivalSD.org

]]> https://w-mappy.com/a-photographer-exposes-both-sides-of-the-film-to-create-stunning-effects/ Tue, 26 Apr 2022 15:25:34 +0000 https://w-mappy.com/a-photographer-exposes-both-sides-of-the-film-to-create-stunning-effects/

A photographer on TikTok exposed both sides of a roll of 35mm film to create some stunning and unusual images.

Based in Halifax, Nova Scotia, Evan Purney is a photographer and content creator who enjoys experimenting with photographic film to produce extraordinary results.

As seen in a TikTok video that racked up 1.2 million views, Purney first turned a roll of film to the wrong side where the emulsion is exposed through the base of the film to get a full scale background. red. Then he moves the film through an empty roll and turns it right side up to create unique overlapping images.

The technique is known as “two-sided exposure” (EBS) and it combines double exposure with redscale photography.

Purney used a Ricoh KR5 Super 2 with an SMC Pentax-FA f2.8 50mm macro lens. For the film, he chose a Fuji Superia Xtra 400 for its vivid blues and greens which he said would contrast well with the “redscale” effect.

“Honestly, the unpredictability of the film is why I love it. The amount you can experiment with the process at every stage fascinates me,” Purney said. PetaPixel. “BSE is a really cool process that’s been around forever, but I haven’t seen a lot of people use it since this photographic film revival.”

It took two attempts and some experimentation with exposure times for Purney to get the results he wanted.

“I was delighted with the results! I have already tried it once but I did not find the effect pronounced enough. This time I made some adjustments to the exposure times and was really happy to see the improvement,” he says.

“I shot the redscale side at around ISO 125 (overexposed) and the normal side at around ISO 800 (underexposed). Normally with double exposures you want to underexpose a bit on one or both exposures, but when shooting “redscale” (wrong side) you usually overexpose a bit (2-3 stops) so I deducted like 0.5 from this. Based on my first attempt adjusted to these values, but it’s definitely something to experiment with.

Purney is fascinated by the endless possibilities of film photography and aims to set himself apart from other photographers through his use of experimental techniques and practical effects. In another TikTok video, Purney uses his old Nintendo DSI equipped with a 0.3 megapixel camera to take a series of photos.

Other works by Purney can be found by visiting his website and instagram while his photographic experiences and tutorials can be found on ICT Tac.

Picture credits: All photos by Evan Purney.

Sorry Fujifilm film shooters, more bad news: on the heels of a steep price hike announcement, the brand has revealed a looming shortage of medium format slide film caused by supply chain constraints. Color reversal film enthusiasts will need to hang on, stock up and be patient, as the brand’s 120 format film is expected to be in short supply for the foreseeable future.

Films concerned

Rest assured, 35 mm shooters, for the moment, the announcement concerns only slide films in 120 format (medium format). These include Fujichrome Velvia 50, Fujichrome Velvia 100and Fujichrome Provia 100F.

“It is difficult to supply enough products due to an insufficient supply of raw materials, and supply and demand are expected to be tight at this time,” the company wrote on its website.

Where to find it before it’s too late

We checked with three major US-based retailers to see if we could still pick up rolls of any of the stocks mentioned above and came up almost empty-handed. B&H and Adorama list the movies as out of stock. That said, Amazon had a handful of Provia 120 five-packs available from a third-party seller for around $20 above the current rate ($85).

On the other hand, our local camera store…Glazer’s Camera in Seattle, WA—has both Velvia 50 and Provia 100 in stock. So definitely worth looking local first if you’re on the hunt!

The shortage follows a dramatic rise in prices

The announcement comes about a week after the brand acknowledged plans to raise movie prices later this month by up to 60%. Photographic paper, processing chemicals and other printing products and services will also see price increases, some by up to 94%.

“Fujifilm Imaging Systems Co., Ltd. has responded to recent increases in raw material prices, transportation costs, etc., as well as reduced demand for photography-related products,” its site explained. website. “We have done our best to absorb the costs by improving production efficiency and reducing costs, but since it is difficult to absorb the costs by company efforts alone, we will implement revisions of price.”

Can you still shoot a movie on a budget?

With shortages and skyrocketing prices, some may wonder, “Is it still worth making movies?” We say yes! In fact, it’s still entirely possible to shoot movies on a budget, although you may have to settle for more affordable stocks than Provia and Velvia.

In this article, we outline three ways to save some cash while satisfying your analog appetite. (Spoiler: For the price of a new Nikon Z7 kityou could shoot, develop and digitize a 35mm roll a week for 12 years, what do you think?)

So hurry up and stock up if your movie of choice is on the affected product list, and don’t forget to #staybrokeshootfilm.

A new, highly limited ISO 200 35mm color film from ADOX is upon us just 41 days past 2022. It was released on Thursday, February 10, 2022 and is available for pre-order now in limited quantities in 36 exposures, 35 mm cassettes.

Say hello to ADOX COLOR MISSION:

The film, described by ADOX as having “delicately vibrant minty greens, peachy reds, airy grain and heart purpose”, is named to reflect what it means to the company: funding the future development of an all-new color photographic film. Described as “a kind of reverse Kickstarter”only one batch of ADOX COLOR MISSION is available for purchase immediately.

Proceeds from the sale of ADOX COLOR MISSION will go towards a new R&D project for this new, as yet unnamed film, and according to ADOX, is “to assist the community in alleviating current color film shortages, as well as advancing ADOX toward our research goals.”

According to the company, only one batch of ADOX COLOR MISSION was co-researched and coated for ADOX by a company that went bankrupt shortly after the first trial. ADOX starts its own fully independent research and development for color films, which naturally requires significant investment:

• ADOX chemical production funds the search for new photochemistry.
• ADOX Polywarmtone emulsion helps advance the development of paper products.
• ADOX COLOR MISSION adds a third component dedicated specifically to film development

ADOX goes on to say, “As a matter of fact, a new movie won’t come out next year – in four years, maybe. Color Mission’s supply will be sufficient for this time, and perhaps a little longer.

As mentioned above, ADOX COLOR MISSION is available from Thursday, February 10 at Fotoimpex store (with worldwide delivery), and can be ordered here.

New to ADOX? ADOX is the oldest photochemical manufacturer in the world, with a history dating back to 1860. In the midst of the analog market crash in 2003, ADOX was the first company to come back to life with a production line of machines saved from bankruptcy . Konica, Forte and Agfa factories. Today, almost two decades later, the new ADOX operates in Germany and Switzerland and produces chemical filters, black and white films, liquid photo emulsions and gelatin filters.

Much of the company’s photochemical production is based on original Agfa recipes and heritage, such as Rodinal, Neutol and MCC. All the latest releases have an “eco-friendly version” like dust-free powders or an inversion kit with non-hazardous bleach. You can check out a review of their HR-50 hi-res film and a little showdown comparing ADOX Silvermax 100 to the original Agfa APX 100 right here on EMULSIVE.

~EM

Edit: Keyboard typos

About the Author

This sweet short from James P Gannon – whose previous film Betty Feeds The Animals also starred his mother – has a surprising humor, given that the film sees his parents reminiscing about the day they nearly died 50 years before. .

The director gives the story the feel of an old home movie by shooting in Super 8, though the colors turn out to be more vivid than memories of his mother and father Betty and Jack, as they conjure up the the day their car – with two of their children and one of their mothers in the back – was hit by a train. We can tell, of course, by their very presence that they dodged tragedy, but the story unfolds off-kilter as the duo disagree on key elements. Was the music playing that day? What happened after the impact of the train? Did it bring them closer?

The use of this Super 8 is crucial to the feel of the film, already giving it the emotional quality of something remembered, even though we know on an intellectual level that it is a contemporary element. Using photographic slides to show snapshots of the family as they were then only further cements the feeling of stepping back in time with those memories. Gannon uses the camera to generate an element of thriller as the film progresses and Jack talks about coming “face to face” with the train – the Super 8 becomes oversaturated, with a freeze frame used in the style of ’70s B-movie at the perfect time. The humor may suggest that the director does not take himself too seriously (which is only confirmed by his Meet the artist video) but, on the other hand, he pays serious attention to the possibilities offered by the Super 8 and exploits them to the maximum.

Reviewed on: Jan 19, 2022

The catch
Directed by Alexandre O. Philippe
6:45 p.m. Friday 5 November
AMC House 2
4:15 p.m. Saturday 6 November
AMC House 2

Among the specialties of director Alexandre O. Philippe are “fascinating documentaries on cinema”, notes Matt Campbell, “and The catch is no exception. ”

The film’s focus “is Monument Valley, on the border of Utah and Arizona, and how it is imbued with visual imagery from popular culture and the Wild West because John Ford has shot so many of his films. over there, “he notes, including such landmarks. like the years 1946 My dear Clementine and 1956 Researchers. “It looks like this vast space, but it is actually quite a small area, even though it represents the signifying trope of American exceptionalism and manifest destiny – whites conquering the West and taking land from the indigenous peoples. living there.”

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The title is a reference to a scene from another film that highlighted Monument Valley – 1994 Forrest Gump, “when he runs through the desert and he stops,” Campbell remembers. “It’s now a tourist spot, where people go to take pictures, so they kind of reinforce the idea of ​​this space as being for the white, conquering civilization and not for the communities that have always been there and live there. currently and often in difficulty There are many elements in the film, many philosophical and psychological foundations that Alexandre integrates into his thesis and his dissection of cinema.
Drive my car
Directed by Ryūsuke Hamaguchi
1:45 p.m. Saturday 6 November
AMC House 9
2:45 p.m. Sunday November 14
AMC House 9

Drive my car “premiered in competition at Cannes earlier this year,” said Campbell. “This is a director whose wife dies very early in the film. After that, he accepts a concert to stage a play at this theater festival in north Tokyo – and he decides to cast it. ex-lover of his late wife, a young man with whom she was having an affair. ”

This is not the only delicate dynamic in the film. According to Campbell, “The director wants to be able to drive his car to and from the rehearsal at his hotel, which is about an hour outside of town. But festival organizers don’t want him to drive for insurance reasons. , so they hire a young driver to drive it back and forth. The two spend a lot of time in the car, talking about life – and they start to have a relationship. ”

Campbell acknowledges that Drive my car is “long enough – about three hours – and methodically paced. But for me, the three hours have slipped right by. It’s about the lies we tell ourselves to rationalize what we do for a living.”
All these threads
Directed by Bing Liu and Joshua Altman
6:45 p.m. Saturday 6 November
Tom Fries Theater (Sie FilmCenter)
4:45 p.m. Sunday 7 November
Tom Fries Theater (Sie FilmCenter)

Directors Bing Liu and Joshua Altman caused a stir with audiences and critics in 2018 Undermine the ditch, which explored three characters from Illinois united by the love of skateboarding. Their latest project, according to Campbell, “is a very powerful look at programs for young African American men on the south and west sides of Chicago, where former gang members are trying to get these young people to choose a different path and to move on. move away from the violence that has ravaged their communities. ”

Liu and Altman “are following some of the younger ones and the hardships they are going through,” he continues. “It’s a problem we see in the news, but it’s usually reported as how many people were killed in Chicago over the weekend. But they really put humanity behind the headlines and tell the stories of people who live this life day to day. ”

Despite the difficult subject, Campbell points out that All these threads is “super powerful, and the general themes are the positive aspects of the change these former gang members are trying to make.” Even if this takes place in Chicago, the ideas, lessons and struggles can be applied to many urban areas across America dealing with this problem. “

Click to ticket information and more details on the 44th Denver Film Festival, including how to access certain selections online.

The film’s popularity is still on an upward trajectory with no signs of slowing down. With the ever-changing world of cinema, it’s time to update the list of underrated and overrated film cameras.

Before I start, I would like to say that this list contains cameras that I know and know well enough to have expressed any opinion about. With thousands of different film cameras that have been produced over the decades, the overwhelming majority of cameras will not be on this list. You can expect, however, that if a camera is fairly mainstream and well-known, I will try to include it. I would also like to say that this list is largely, if not exclusively, determined by cost / quality and convenience. One could then argue that this list is based on the most overrated and undervalued cameras, and not “rated”. Finally, the reason this update was necessary is that the cost of the cameras has not been linear across the board. Indeed, some of the more popular cameras have maintained their same price point since last year, but many haven’t (I don’t think some have gotten any cheaper).

As mentioned above, this list will not be exhaustive. This is because it will only contain 35mm and medium format cameras, but it will not contain large format cameras. Also, I will not be including special edition cameras, even though they are special edition cameras from the same cameras on this list. Take, for example, the Nikon F2 Titan, which sells for 10 times more than a normal F2. They both take the exact same photographs, but one is just considerably more expensive than the other. Since there are so many cameras and so many special editions out there, I can’t cover them all. If I had to give a general tip, it would be to avoid special edition cameras if this is a camera you will be using regularly.

Overvalued cameras

This list has not been easy for me to put together last year, but I am much more comfortable with it this year. Why? Because the cameras that were on the list last year have become even more in demand and expensive. In addition to the cameras from last year’s list, I have several more to add that I think I deserve even more to be here. Their presence on this list doesn’t mean they aren’t fantastic cameras. Indeed, most of them are quite amazing and really worth a pretty penny. The question here is whether they are worth their list price, and to be on this list I would say the answer is a definite ‘no’.

• Bronica RF645
• Contax T2 & T3
• Contax 645
• Hasselblad XPan and XPan II
• Leica M3
• Mamiya 7 and 7ii
• Mamiya RZ67 Pro and Pro-II (reviewed here)
• Mamiya 645 Pro and Pro-TL (review here)
• Minolta TC-1
• Nikon 28Ti and 35Ti
• Pentax 67 II

For starters, it really pains me to put my favorite film camera on this list, the Mamiya 645 Pro-TL. It has been my go-to camera for years, so much so that I have continued to develop my lens collections for this system, and all I can say is that it is priced way above that. that I think it is worth. And again, this is from someone who has the camera and uses it regularly. I would even go so far as to say that without the Mamiya 645 Pro-TL, I wouldn’t be as passionate about cinema as I am. Still, it’s not worth the price it costs today. If you could get a full kit with a lens you’d like to use (except the 80mm f / 1.9) for around $ 500 or less I’d say it’s a good deal, but nothing more and suggest to move on.

My thoughts on the cameras from last year’s list are still the same. I would personally like to have a Mamiya 7 or 7ii. I think these are fantastic cameras. And I would love to have a Nikon 35Ti because I think these are the coolest point and shoot cameras I have ever seen. I would also like to try the Hasselblad XPan, but I can’t even bring myself to google it with such a high price tag. Finally, the camera that was the biggest problem for me (and maybe it doesn’t make this list) was the Pentax 67 II. One of my closest friends has this camera, and I think it’s amazing. If I found one for $ 1,500 or less for a kit that was in good condition, I would pick it up in the blink of an eye. Sadly, I don’t think that day will ever come back.

Cameras in the middle

• Fujifilm GA645 series (see here)
• Hasselblad 500C / M
• Mamiya RB67 (see here)
• Mamiya 645 (first models: M645, M645 1000S, M645J)
• Minolta SR-T Series
• Nikon F-F5 (F2 review here)
• Olympus XA
• Pentax 645
• Pentax 6×7 and 67
• Pentax K1000
• Carpet Yashica-124 G
• Zenza Bronica ERTS
• Zenza Bronica GS-1

This list is, like last year’s version, a bit more difficult to compose. The point is, cameras can vary widely in terms of price and condition, so it’s impossible to say bluntly that a camera is priced appropriately. Truth be told, any camera on the overrated list can be a good buy under the right circumstances, and any camera on this list or the underrated list can be a bad buy under the conditions. In general, these cameras are on average priced higher than last year but are still reasonable considering the prices they are currently offering. I would suggest anyone looking for a camera to buy to look for a camera on this list or the list below.

Underrated cameras

• Canon Elan 7
• Mamiya C330
• Nikon FA (see here)
• Nikon FE and FE2 (reviewed here)
• Nikon f80
• Nikon F100 (see here)
• Pentax KX and KM

Final thoughts

The world of cinema has undergone turbulent changes over the past year or two. The prices kept going up with no sign of going down at any time. I still find it hard to believe the rate going on some of these decades-old cameras with no warranty and limited repairability (or no chance depending on the model) if something goes wrong. With the expansion of the world of cinema as it is, the world is actually getting smaller. There are fewer and fewer cameras that are now reliable and costing no more than what one might expect to pay for a decent to nice digital camera. As such, consider how reliable a camera is (put a lot of stock in all manual cameras) and the ability to repair the camera if something goes wrong.

Do you have any cameras in mind that you think should have been added to one of the lists?