Film Game Over
Olowookere Devost
Hi,
I'm just getting into Film Photography and bought a 35mm film camera. I was wondering if I could use one roll of film over a few days? Would the pictures go bad?
11:14PM, 10 June 2020 PDT(permalink)
Yes you can shoot film over a period of days. Most films you can be quite happily shot over a period of weeks or months may be even years. Pictures do fade a bit if left in a camera but it tends to take a long time to occur. I wouldn't worry about days. Some very slow films may degrade a bit faster like Ilford PanF+ but even then I wouldn't worry about a few days, if you are going to send it off for processing, it will take a few days in the post anyway.
Paul
50 months ago(permalink)
My understanding is that a latent image will shift colors/tones faster than the film itself, but I agree with the earlier posters that a few days/weeks, even maybe months, will not make a difference for most purposes. The exception would be if you are shooting a bunch of related images for a book or catalog or something where the tones have to match, but that is not the case for most amateurs.
50 months ago(permalink)
You'll be fine. The idea is to process the film as soon as possible after exposure for the best results, yet you could leave a film in a camera for a year and still get acceptable results.
50 months ago(permalink)
I keep film in several cameras at the time. That means that it may take 3 - 4 months before I finish a film (well, more usually it takes a few days). I have never noticed any deterioration.
50 months ago(permalink)
vynguyyen11: Those of us that can remember the 1990s can attest that back in Ye Olde Days of photography, family cameras often had a "two christmases" roll of film. The first half of the roll would be shot one year, and the rest of the roll shot twelve months later. And to think that one of the selling points of digi was the supposed limitation of "only" 36 frames...
I posted here a few years back about an old roll of film I had shot back in the early 2000s and developed after it had sat in a box of junk for about fifteen years. It turned out just fine.
50 months ago(permalink)
I was a partner in a commercial real estate firm at the time and had no background in film. But I was convinced that a film was the most effective way to bring the message to a broad audience. So in October 2008, I took a leap, a giant leap, and decided to make the documentary. I also decided to fund this project by myself on a limited budget, despite receiving several investment offers. I recruited an award-winning production team and spent the next two years working on the film that would become Forks Over Knives.
The reception to the film was astounding. We did about 30 advance screenings beginning in the summer of 2010, all but one of which were sold out and often there were lines around the theaters. News about the film spread quickly, mainly by social media. In May 2011, the film was in theaters across the country; in September of the same year, the film was released on DVD, on Netflix, and other digital platforms. Meanwhile, the companion book that arrived that summer became a No. 1 New York Times bestseller. It was clear that a large number people were ready for the message and were grateful to have more control over their health.
I feel honored to be part of this plant-based movement and am thankful to see more and more people enjoying the lifestyle every year. The growing number of professionals such as doctors, nutritionists, researchers, chefs, and bloggers who support the whole-food, plant-based lifestyle gives me hope that someday we will live in a world where heart disease and type 2 diabetes will be nothing more than a very rare occurrence.
Films generate income from several revenue streams, including theatrical exhibition, home video, television broadcast rights, and merchandising. However, theatrical box-office earnings are the primary metric for trade publications in assessing the success of a film, mostly because of the availability of the data compared to sales figures for home video and broadcast rights, but also because of historical practice. Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. All charts are ranked by international theatrical box-office performance where possible, excluding income derived from home video, broadcasting rights, and merchandise.
On this chart, films are ranked by the revenues from theatrical exhibition at their nominal value, along with the highest positions they attained. Six films in total have grossed in excess of $2 billion worldwide, with Avatar ranked in the top position. All of the films have had a theatrical run (including re-releases) in the 21st century, and films that have not played during this period do not appear on the chart because of ticket-price inflation, population size and ticket purchasing trends not being considered.
FBox Office Mojo stopped updating its main total for Frozen in August 2014, while it was still in release. The total listed here incorporates subsequent earnings in Japan, Nigeria, Spain, the United Kingdom and Germany up to the end of 2015 but omits earnings in Turkey, Iceland, Brazil, and Australia (2016), which amount to a few hundred thousand dollars. The total is rounded to $1 million to compensate for the numerical inaccuracy. It was re-released in the United Kingdom in December 2017 with the featurette Olaf's Frozen Adventure, earning an additional $2.3 million.
TS3Box Office Mojo revised the grosses for Pixar films in August 2016, resulting in the gross for Toy Story 3 being corrected from $1.063 billion to $1.067 billion.[20][21] This means that it peaked at number 4 at the end of its run, ahead of Pirates of the Caribbean: Dead Man's Chest, rather than at number 5 as indicated by the source.
Because of the long-term effects of inflation, notably the significant increase of movie theater ticket prices, the list unadjusted for inflation gives far more weight to later films.[22] The unadjusted list, while commonly found in the press, is therefore largely meaningless for comparing films widely separated in time, as many films from earlier eras will never appear on a modern unadjusted list, despite achieving higher commercial success when adjusted for price increases.[23] To compensate for the devaluation of the currency, some charts make adjustments for inflation, but not even this practice fully addresses the issue, since ticket prices and inflation do not necessarily parallel one another. For example, in 1970, tickets cost $1.55 or about $6.68 in inflation-adjusted 2004 dollars; by 1980, prices had risen to about $2.69, a drop to $5.50 in inflation-adjusted 2004 dollars.[24] Ticket prices have also risen at different rates of inflation around the world, further complicating the process of adjusting worldwide grosses.[22]
Another complication is release in multiple formats for which different ticket prices are charged. One notable example of this phenomenon is Avatar, which was also released in 3D and IMAX: almost two-thirds of tickets for that film were for 3D showings with an average price of $10, and about one-sixth were for IMAX showings with an average price over $14.50, compared to a 2010 average price of $7.61 for 2D films.[25] Social and economic factors such as population change[26] and the growth of international markets[27][28][29] also have an effect on the number of people purchasing theater tickets, along with audience demographics where some films sell a much higher proportion of discounted children's tickets, or perform better in big cities where tickets cost more.[23]
The measuring system for gauging a film's success is based on unadjusted grosses, mainly because historically this is the way it has always been done because of the practices of the film industry: the box-office receipts are compiled by theaters and relayed to the distributor, which in turn releases them to the media.[30] Converting to a more representative system that counts ticket sales rather than gross is also fraught with problems because the only data available for older films are the sale totals.[26] As the motion picture industry is highly oriented towards marketing currently released films, unadjusted figures are always used in marketing campaigns so that new blockbuster films can much more easily achieve a high sales ranking, and thus be promoted as a "top film of all time",[24][31] so there is little incentive to switch to a more robust analysis from a marketing or even newsworthy point of view.[30]
InfInflation adjustment is carried out using the Consumer price index for advanced economies published by the International Monetary Fund.[36] The index is uniformly applied to the grosses in the chart published by Guinness World Records in 2014, beginning with the 2014 index. The figures in the above chart take into account inflation that occurred in 2014, and in every available year since then, through 2022.
GWThe adjusted gross for Gone with the Wind includes the original release and reissue grosses up to 1998, adjusted from the Guinness base year, and the 2019 gross[37] adjusted from the 2020 index. There have been several limited re-releases in the 2020s, but the grosses from these reissues are not represented in the adjusted gross.
A1The adjusted gross for Avatar includes revenue from the original release and all four reissues. The original release and 2010 Special Edition grosses are adjusted from the Guinness base year, whilst the 2020 and 2021 grosses are adjusted from the 2021 index and the 2022 gross from 2022.[38]
ETThe adjusted gross for E.T. includes revenue from the original release and all re-releases. The original release along with the 1985 and 2002 reissues are adjusted from the Guinness base year, whilst the 2020 and 2022 grosses[42] are adjusted from the 2022 index.
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