Open Doors Film
Yi Pressimone
For instance, I'm fond of claiming that the movie "Amadeus" (1984) gave me a Mozart obsession. I was 9 when I first saw it, and the movie turned classical music into something human and historically rich for me. These days, I still listen to a lot of Mozart and believe actor Tom Hulce is actually Mozart, who is a cinematic time-traveler. (Don't argue with me.)
While listening to public radio the other day, a host was talking about the opening music from "A Clockwork Orange" (1971). I know director Stanley Kubrick mastered using classical music, but I didn't realize that the synth-based score that opens the film was a reworking of Henry Purcell's "Music for the Funeral of Queen Mary."
I called Michael Butterman, music director of the Shreveport Symphony Orchestra, to discuss the relationship between film and classical music. While he didn't recall a personal "Amadeus" a-ha moment from his past, he did point out that many of us are introduced to classical music from moving images.
"I'm always fond of being able to say, when I'm describing a concert to a nonmusical audience, 'Here is some music that you know even if you don't know that you know it,'" Butterman says. "I think that's all good, frankly."
But finding classical music in film can lead to a dead end, I fear. Take Richard Wagner's "Ride of the Valkyries." I remember hearing that while war helicopters churned toward a Vietnamese village in Francis Ford Coppola's "Apocalypse Now" (1979). For probably 15 years after I first watched that scene, I didn't care that the music was Wagner's (even though Robert Duvall's character told us so). I cared because the pairing of sound and image was perfect and wholly terrifying. It seemed complete.
I've since listened to most of the "Ring" cycle, but I've never seen any of the four operas performed live. I hope to someday, and I hope my mind replaces the imagery of "Apocalypse Now" with something new. I sense that this piece of music can play all sorts of tricks in my mind.
Another example? Butterman has conducted Maurice Ravel's "Bolro" at a Valentine's Day concert before. He knows why some audience members will hear it and think of a coupling between Dudley Moore and Bo Derek.
Sometimes, Butterman gets to lead audiences through concerts where the music and film create something new for audiences. The Shreveport Symphony Orchestra often presents a movie-themed concert part of its annual series. In recent years, the orchestra has been putting a live score underneath Moonbot Studios' short films like "The Numberlys" and "The Fantastic Flying Books of Mr. Morris Lessmore." These concerts are wonderful.
"I think we're doing almost all of it," he says. His task is admittedly daunting. Through an ear peace during the concert, Butterman will have to follow a click track to keep the players in time with what's happening on screen.
Alexandyr Kent is the executive director of Robinson Film Center, a nonprofit independent theater and education center in downtown Shreveport. He can be reached at ak...@robinsonfilmcenter.org.
Consider that all the pictures you have taken in these two minutes are lost. Then the first picture you'll take after advancing the film to that same position will be lost too. The rest of the film that was still in the canister when you opened the camera should be OK (but IMHO it's safer to use a new roll).
For your specific camera, the other answers which state that the film you shot on is ruined and only the exposures you haven't shot can be used are correct. That camera winds film in the typical forward order: when loading a new roll of film, it winds the film on just a little to the first exposure, then pulls film out as you take photos, then rewinds it all back once it's finished.
On the other hand, some cameras, such as my Canon EOS 300, pre-wind the film and shoot in reverse order: once you load a new roll of film, it winds all of the film out to the last exposure, then as you shoot photos it will rewind those exposures one at a time back into the canister, and then once you shoot the last exposure it will just rewind that one back in along with the leader.
If you have a camera that winds film like that, then the answer is the opposite of the other answers here, which is that all of the photos you shot are safe (with the possible exception of the last one you shot if it isn't completely wound in), but any film you haven't shot on is now unusable. In this case, so long as you didn't wind any film out of the roll, those photos can still be developed and viewed. If you do accidentally open the film door, be sure to cut and discard the unused film on the takeup roll before removing the cartridge, and then immediately wind the remaining film in until you're ready to develop it.
The MIX Center is part of ASU at Mesa City Center, which also includes an outdoor plaza space with a 100-foot movie screen and The Studios. The Studios at Mesa City Center is a repurposed mid-century building that houses programming and support services for local community entrepreneurs, facilitated by the J. Orrin Edson Entrepreneurship and Innovation Institute.
The MIX Center hosts hundreds of students who will be making films, designing virtual worlds and creating immersive media experiences. It houses The Sidney Poitier New American Film School's production and post-production programs, plus classes in digital media technology, worldbuilding, experience design and gaming from The Design School and the School of Arts, Media and Engineering (both, like the Poitier Film School, part of the Herberger Institute for Design and the Arts), as well as from the Ira A. Fulton Schools of Engineering and the College of Global Futures.
The project is a partnership between ASU and the city of Mesa. The city invested $63.5 million toward the project and managed the design and construction of the building while ASU contributed $33.5 million, which included interior work and high-end equipment. ASU also will pay all operations and maintenance costs for the MIX Center; costs will be shared with the city of Mesa for The Studios.
High-tech sound stages: The building has three sound stages with a total of more than 8,000 square feet of Hollywood-level space. Two smaller stages are designed for teaching, and the largest one is built up to full, professional cinematic quality.
Two screening rooms: The two rooms, one with 261 seats and one with 76 seats, off the lobby have Dolby Atmos sound and will be used for lectures and post-production work on films as well as public screenings.
Fabrication lab: A digital fabrication lab, one of the spaces open to the community, can create smaller-scale items with laser cutters, desktop millers and vinyl cutters, as well as several 3D printers.
The stage is a platform that will contain several different surfaces, including concrete, sand, wood and gravel, to record footsteps and other sounds that are then inserted into a film during post-production.
A Dreamscape Learn classroom: Dreamscape Learn is a multi-user virtual-reality educational platform. The Tempe campus includes two Dreamscape Learn pods plus desktop space. The MIX Center will be the most advanced Dreamscape Learn site, holding 32 learners. The space will be used not only by students and researchers to develop content, but also for the public.
Flexible lobby: The entryway includes space for a caf and a multi-purpose exhibition space, plus a community room for local groups to use for classes, workshops, meetings, receptions and exhibitions.
Fourth-year film and media production (directing) student Joe Nixon (right) chats with a couple of his classmates before the start of a Cinematography I class in a green-screen room at the new MIX Center on Aug. 23.
Designing the MIX Center was a years-long process, Pinholster said. The team visited nine professional and academic production facilities around the world, including the University of Southern California, the YouTube studios and the Dolby headquarters.
The Studios is one of six place-based innovation spaces in the Edson Institute. Like all of the spaces, The Studios will offer services and programming based on what the community needs, Stone Sheppard said.
Top photo: Assistant Professor Philip Klucsarits gives his Cinematography I students a short tour of the 280-seat screening auditorium with its state-of-the-art video editing and audio editing stations on Aug. 23 at the new Media and Immersive eXperience Center at the Mesa City Center. Photo by Charlie Leight/ASU News
If the film spool holder hasn't dropped right down inside, try gently screwing the rewind knob back onto it until it's screwed in enough to pull up to open.
If the spool holder has dropped in, you may have to get a thin screwdriver into the side of the camera back and try to lift up the catch, unless anyone else has a trick !
119 months ago(permalink)
If the top is off, simply insert a thin screwdriver under the flat metal plate on the left end of the camera opposite the rangefinder and lift up against the spring. That will release the back latch.
119 months ago(permalink)
Thanks for that. I was worried there. You seem to know your stuff, based on this and other posts. Have you replaced a POD? If so, do you recommend doing it from the top, or by removing the front plate? How difficult is it really to remove the front? I see mixed assessments of the difficulty level on the web, but it looks ok to me provided you are patient.
119 months ago(permalink)
Glad to help. I've worked on quite a few Electros and studied the repair manual. A little (not really enough) knowledge of electronics helps, too. I'm certainly no expert, like Mark Hama and Russ Sisco, though. If you really want your E35 CLAd professionally, send it to one of them.
Replacing a POD through the narrow gap at the top is okay if you have steady hands and, as you say, patience. I now prefer to go in through the front, though. Carefully peeling back the leatherette on the front is time consuming, but once that's done you only remove five screws and you're in. Just be careful not to put too much strain on any of the wiring, and unwrap the long red power wire from around the tripod mount hole. While the front is off you can also look around for corrosion of the wiring at the solder joints and clean the shutter switch if it needs it.
Putting the front back on can be a little tricky, since the crossbar on the shutter cocking shaft at the back of the lens has to be aligned with the corresponding slots on the body--at the same time the cocking release fork and the rangefinder mechanism have to be aligned. But if you put the advance lever back on its shaft temporarily, you can use it to find the sweet spot where the crossbar falls right into place.
119 months ago(permalink)