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Filmmaker Magazine | 7/23/2019 | Mark Terry
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by Mark Terry

I loved shooting on film. Nothing was more exciting than the day of the telecine transfer—I finally got to see how the movie would look—but the day the bill was due, my attitude would always change. I hoped that one day the inflated price of the film transfer would come down to a realistic number that made sense. That day is now!

Film - Career - Mid-1990s - Florida - Time

My film making career started in the mid-1990s in Florida, around the same time digital was born. I can remember all my friends shooting on Mini-DV and nudging each other saying, “Check out how great the Canon XL-1 looks on TV. It almost looks like film.” That camera was cool for its day, but it wasn’t the look I wanted for my films.

I felt some of my peers were lazy and lacked the discipline, knowledge and finances to shoot on film. With no film school or YouTube tutorials, I purchased a 16mm K-3 online for about $300. I was sure that this would be my way to stand out. Spike Lee had a K-3 in his hands on the set of Get on the Bus. Like him or not, his movies always looked like real movies and they had a cool look. That’s all I knew or cared about—the K-3 was good enough for me.

Feet - Film - Types - Cameras - Panavision

From the early 2000s to 2011 I shot a few hundred thousand feet of film on all different types of cameras, from Panavision to Éclair, Arri 2c and even Bolex. Most of the film was Super 16mm. I also tried out Super 8mm, and my last foray in the world of film was with the under-utilized 3-perf 35mm.

This is where I come clean. There were times I would call Kodak or Fuji. They would give me a few cans of free “test...
(Excerpt) Read more at: Filmmaker Magazine
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