Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
This is actually a quite favorable month where everything can work out just the way you want it to.
All of these events are occurring because you're under the influence of a 24/6 personal month. The 6 has a strong influence toward "cosmic parent." SUCCEED and LOVABLE are positive
words to keep in mind this month because they both add up to the numeric value of 24/6.
My advice to you is to enjoy this month and all the good things that will come to you. Be generous and watch for results that will benefit all around you, and success WILL be yours!
Friday, April 24, 2009
Tuesday, April 21, 2009
Film Rates
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
When it comes to documents this month, it's best to consult an expert before signing on that bottom line. Hasty or rash decisions could result in conflicts down the road and circumstances you could do without.
At any rate, the most important aspect of this month is your diligent attention and effort. Dropping the ball will only leave you feeling unfulfilled and unhappy. Instead, envision yourself on a crusade with an important mission to accomplish. Put in the time to learn all the details and study the options. You will then have the necessary facts and knowledge to achieve your success.
When it comes to documents this month, it's best to consult an expert before signing on that bottom line. Hasty or rash decisions could result in conflicts down the road and circumstances you could do without.
At any rate, the most important aspect of this month is your diligent attention and effort. Dropping the ball will only leave you feeling unfulfilled and unhappy. Instead, envision yourself on a crusade with an important mission to accomplish. Put in the time to learn all the details and study the options. You will then have the necessary facts and knowledge to achieve your success.
Wednesday, April 15, 2009
Pace Your Shots
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
The one thing you don't want to ignore during this time of excitement and responsibility is your health. Don't let exhaustion from work, volunteering, or travel sap your energy. Remember to eat right and to make time in your schedule for healthy physical activity. Whether it's walking, jogging, swimming, working out in the gym, or taking part in a seasonal sport, find a regular activity and be a faithful participant.
With all the good news you have to look forward to, be sure to avoid negative actions such as being too pushy, judgmental, or rigid. Remember, your ideas are sound, but they aren't the only ones worth hearing or trying. If you give in to negative traits, you can expect bad news, broken contracts, loss, or indecision. Instead look for strength from words such as RESPONSIBLE, SELF-CONFIDENT, and BALANCED.
The one thing you don't want to ignore during this time of excitement and responsibility is your health. Don't let exhaustion from work, volunteering, or travel sap your energy. Remember to eat right and to make time in your schedule for healthy physical activity. Whether it's walking, jogging, swimming, working out in the gym, or taking part in a seasonal sport, find a regular activity and be a faithful participant.
With all the good news you have to look forward to, be sure to avoid negative actions such as being too pushy, judgmental, or rigid. Remember, your ideas are sound, but they aren't the only ones worth hearing or trying. If you give in to negative traits, you can expect bad news, broken contracts, loss, or indecision. Instead look for strength from words such as RESPONSIBLE, SELF-CONFIDENT, and BALANCED.
Sunday, April 12, 2009
More Film Lists
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
And don't be afraid to send out a little SOS to others. They'll be happy to jump on the bandwagon with your positive attitude and give you all the help you need. This could quite possibly be the beginning of your fortune. All events in your life this month point the way toward wealth, prosperity, and the achievement of your goals, possibly even greater than you expected.
Now, here's something you do need to remember. No matter what obstacles get in your way or who disagrees with you, stick to your guns and don't deviate from what you feel is right. If you apply yourself, you have a great opportunity to transform all those bright ideas into reality.
And don't be afraid to send out a little SOS to others. They'll be happy to jump on the bandwagon with your positive attitude and give you all the help you need. This could quite possibly be the beginning of your fortune. All events in your life this month point the way toward wealth, prosperity, and the achievement of your goals, possibly even greater than you expected.
Now, here's something you do need to remember. No matter what obstacles get in your way or who disagrees with you, stick to your guns and don't deviate from what you feel is right. If you apply yourself, you have a great opportunity to transform all those bright ideas into reality.
Thursday, April 9, 2009
Measuring Light
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: – Foot Candle -
Measurement of light. One foot candle is the light of one candle, one foot away. Many light meters will use foot candles as a starting number, which then must be converted into an f-stop based on the sensitivity of the film you are using. (Because of the great variety of different film speeds it is sometimes ambiguous to talk too much about foot candles, since a given number of foot candles will not yield the same f-stop from one film speed to another.)
Today: – Foot Candle -
Measurement of light. One foot candle is the light of one candle, one foot away. Many light meters will use foot candles as a starting number, which then must be converted into an f-stop based on the sensitivity of the film you are using. (Because of the great variety of different film speeds it is sometimes ambiguous to talk too much about foot candles, since a given number of foot candles will not yield the same f-stop from one film speed to another.)
Monday, April 6, 2009
New Film Numbers
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Home and family--not surprisingly--will be a special priority during this period. Give them the extra attention they need, even if you have to schedule it.
Taking a look at your specific numbers, you're under the influence of 22/4 (2 + 2 = 4) at this time. Because 22 is a Master Number, its influence will increase your need for patience, discipline, and practicality. A need for stability, organization, and honesty comes from the energy of the 4.
The 22/4 influence means this will be a time when dreams and goals have a chance to be realized. Some aspects of life will come full circle, so to speak, because 22 is the ancient numerical value for a circle and, as such, signifies completion.
Home and family--not surprisingly--will be a special priority during this period. Give them the extra attention they need, even if you have to schedule it.
Taking a look at your specific numbers, you're under the influence of 22/4 (2 + 2 = 4) at this time. Because 22 is a Master Number, its influence will increase your need for patience, discipline, and practicality. A need for stability, organization, and honesty comes from the energy of the 4.
The 22/4 influence means this will be a time when dreams and goals have a chance to be realized. Some aspects of life will come full circle, so to speak, because 22 is the ancient numerical value for a circle and, as such, signifies completion.
Wednesday, April 1, 2009
Just The Facets
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Optical Track - An intermediate step from going from your mix master to your final print is to have an optical track struck. An optical track is photographed onto a blank piece of special high contract stock by the facility where the mix is done, or by the lab. The optical track is a separate roll of film from the original negative and is combined with picture when a print is struck. (The track itself still remains a separate element from the A&B Rolls, it is printed in a separate pass through the contract printer.)
Optical Track - An intermediate step from going from your mix master to your final print is to have an optical track struck. An optical track is photographed onto a blank piece of special high contract stock by the facility where the mix is done, or by the lab. The optical track is a separate roll of film from the original negative and is combined with picture when a print is struck. (The track itself still remains a separate element from the A&B Rolls, it is printed in a separate pass through the contract printer.)
Sunday, March 29, 2009
Mark Cella's Eye Line
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Eye Line - Eye line is the direction an actor should look off-screen to match a reverse angle or a P.O.V. shot. It is best to give the actor an actual thing or spot to look at rather than a blank spot on an empty wall or an empty space in mid air.
Estar Base - a brand name
Eye Line - Eye line is the direction an actor should look off-screen to match a reverse angle or a P.O.V. shot. It is best to give the actor an actual thing or spot to look at rather than a blank spot on an empty wall or an empty space in mid air.
Estar Base - a brand name
Wednesday, March 25, 2009
Judgement
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
However, in taking this leadership position you'll have to be careful not to appear selfish or demanding which could only increase the level of disagreements and ultimately result in failure for whatever projects are involved.
Your judgment will be more acute than usual during this cycle. You'll be amazed by how clearly you can "see" different aspects of situations that previously seemed invisible. This is an opportunity to learn from past mistakes and successes. At the same time, if you have ANY doubts, consult a professional before forging ahead.
Learn more at Mark Cella film theory , Mark Cella film studies
However, in taking this leadership position you'll have to be careful not to appear selfish or demanding which could only increase the level of disagreements and ultimately result in failure for whatever projects are involved.
Your judgment will be more acute than usual during this cycle. You'll be amazed by how clearly you can "see" different aspects of situations that previously seemed invisible. This is an opportunity to learn from past mistakes and successes. At the same time, if you have ANY doubts, consult a professional before forging ahead.
Learn more at Mark Cella film theory , Mark Cella film studies
Sunday, March 22, 2009
F Stops
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
F-stop - The scale used to measure the size of the opening of the iris on a lens. Opening the iris wider lets in more light, and closing it down, smaller, lets in less light. F-stops can be a little confusing, because the larger the number, the smaller the opening of the iris, and conversely the smaller the number, the larger the opening. The typical f-stop scale is 1.4 - 2 - 2.8 - 4 - 5.6 - 8 - 11 - 16 - 22. When the reading is between stops, this should be accounted for it setting the lens, however, it is much more clear, even if it sounds grammatically incorrect to the mathematically inclined, to say “One third above 5.6” rather than “5.8” because it is very hard to judge the distance in decimals between numbers like 5.6 and 8, whereas 1/3rd above 5.6 is perfectly clear.
Learn more at Mark Cella film theory , Mark Cella film studies
F-stop - The scale used to measure the size of the opening of the iris on a lens. Opening the iris wider lets in more light, and closing it down, smaller, lets in less light. F-stops can be a little confusing, because the larger the number, the smaller the opening of the iris, and conversely the smaller the number, the larger the opening. The typical f-stop scale is 1.4 - 2 - 2.8 - 4 - 5.6 - 8 - 11 - 16 - 22. When the reading is between stops, this should be accounted for it setting the lens, however, it is much more clear, even if it sounds grammatically incorrect to the mathematically inclined, to say “One third above 5.6” rather than “5.8” because it is very hard to judge the distance in decimals between numbers like 5.6 and 8, whereas 1/3rd above 5.6 is perfectly clear.
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, March 19, 2009
What Is A Frame Handle?
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Frame Handles -
Frame handles are extra frames at the beginning and the end of every shot, the exact number will vary from one application to the next, which are used primarily when preparing original material for optical printing, such as the Zero Cut method of blow up, or the creation of a superimposed title, etc. The purpose they serve, in the case of zero cut, is to make sure the registration pin of the printer is not grabbing a splice, which can cause the image to wobble. With opticals they are often used merely to avoid printed-in dirt, which is much more prevalent close to a splice where bits of film cement can flake off.
Learn more at Mark Cella film theory , Mark Cella film studies
Frame Handles -
Frame handles are extra frames at the beginning and the end of every shot, the exact number will vary from one application to the next, which are used primarily when preparing original material for optical printing, such as the Zero Cut method of blow up, or the creation of a superimposed title, etc. The purpose they serve, in the case of zero cut, is to make sure the registration pin of the printer is not grabbing a splice, which can cause the image to wobble. With opticals they are often used merely to avoid printed-in dirt, which is much more prevalent close to a splice where bits of film cement can flake off.
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, March 12, 2009
The Flares
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: – Flare - This has two meanings: 1.: When using film on a daylight spool, the erratic pattern of raw light that washes out the beginning and end of the roll are known as “the flares.” 2.: A flare of the other kind is a Lens Flare. It is caused when light strikes the lens and either causes the entire image to be fogged in appearance, or for a little row of polygons (the silhouette of the iris) to appear from the light hitting the surfaces of the many elements in the lens. It is solved by flagging the lens.
Learn more at Mark Cella film theory , Mark Cella film studies
Today: – Flare - This has two meanings: 1.: When using film on a daylight spool, the erratic pattern of raw light that washes out the beginning and end of the roll are known as “the flares.” 2.: A flare of the other kind is a Lens Flare. It is caused when light strikes the lens and either causes the entire image to be fogged in appearance, or for a little row of polygons (the silhouette of the iris) to appear from the light hitting the surfaces of the many elements in the lens. It is solved by flagging the lens.
Learn more at Mark Cella film theory , Mark Cella film studies
Sunday, March 8, 2009
Film Speed
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Film Speed - The sensitivity to light for proper exposure of a given film stock. This is primarily a result of the size of the silver halides in the emulsion, the larger the grain, the less light is needed for exposure. Film stocks are generally spoken of as being fast or slow, a fast film having large grains and needing less light, a slow film having smaller grain and needing more light.
Learn more at Mark Cella film theory , Mark Cella film studies
Today: Film Speed - The sensitivity to light for proper exposure of a given film stock. This is primarily a result of the size of the silver halides in the emulsion, the larger the grain, the less light is needed for exposure. Film stocks are generally spoken of as being fast or slow, a fast film having large grains and needing less light, a slow film having smaller grain and needing more light.
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, March 5, 2009
The Filter
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Filter - A tinted glass or small tinted plastic sheet placed in front of the lens or behind the lens in a filter holder, used to change the color rendition of the entire shot. Filters are used to convert tungsten balanced film for use in daylight or vice versa. The can also be used for aesthetic reasons, such as a red filter to darken the sky when filming in black and white.
Learn more at Mark Cella film theory , Mark Cella film studies
Filter - A tinted glass or small tinted plastic sheet placed in front of the lens or behind the lens in a filter holder, used to change the color rendition of the entire shot. Filters are used to convert tungsten balanced film for use in daylight or vice versa. The can also be used for aesthetic reasons, such as a red filter to darken the sky when filming in black and white.
Learn more at Mark Cella film theory , Mark Cella film studies
Tuesday, March 3, 2009
The Sound Filling
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Sound Fill
Filler, Fill or Sound Fill - Filler is scrap film, most often used to keep a sound track running the same length as the picture, even though there is just silence. When used this way in can also be called sound fill. Filler is usually a print with the emulsion scraped off the center all the way along, perhaps to prevent bootlegging, but also useful in that a mark can be seen on both sides through this wide scratch.
Learn more at Mark Cella film theory , Mark Cella film studies
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Sound Fill
Filler, Fill or Sound Fill - Filler is scrap film, most often used to keep a sound track running the same length as the picture, even though there is just silence. When used this way in can also be called sound fill. Filler is usually a print with the emulsion scraped off the center all the way along, perhaps to prevent bootlegging, but also useful in that a mark can be seen on both sides through this wide scratch.
Learn more at Mark Cella film theory , Mark Cella film studies
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Monday, March 2, 2009
The Double System
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Double System - The term double system refers to sound and picture as two separate elements, recorded, edited or projected in sync. 16mm and 35mm use the double system format. A camera photographs the picture and a tape recorder records the sound. In the end, the final print is Single System, combining sound and picture onto the same piece of print stock.
Learn more at Mark Cella film theory , Mark Cella film studies
Double System - The term double system refers to sound and picture as two separate elements, recorded, edited or projected in sync. 16mm and 35mm use the double system format. A camera photographs the picture and a tape recorder records the sound. In the end, the final print is Single System, combining sound and picture onto the same piece of print stock.
Learn more at Mark Cella film theory , Mark Cella film studies
Wednesday, February 25, 2009
Flash Two
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Flash Frame -2.: A flash frame is also used to describe the first few overexposed, brighter frames at the beginning or the end of a shot, due to the camera needing time to reach speed. These can often be hard to see while editing, but are much more noticeable in a final print.
Learn more at Mark Cella film theory , Mark Cella film studies
Flash Frame -2.: A flash frame is also used to describe the first few overexposed, brighter frames at the beginning or the end of a shot, due to the camera needing time to reach speed. These can often be hard to see while editing, but are much more noticeable in a final print.
Learn more at Mark Cella film theory , Mark Cella film studies
Tuesday, February 24, 2009
Duped Again
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today Dupe - A dupe is a positive copy of a positive. A dupe can also be a negative copy of a negative. A dupe is a print made in the reversal process. It can sometimes be clearer to call something a dupe, because to simply say “positive print” you could just mean a positive copy of a negative, which would not be a dupe
Learn more at Mark Cella film theory , Mark Cella film studies
Today Dupe - A dupe is a positive copy of a positive. A dupe can also be a negative copy of a negative. A dupe is a print made in the reversal process. It can sometimes be clearer to call something a dupe, because to simply say “positive print” you could just mean a positive copy of a negative, which would not be a dupe
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, February 19, 2009
Extension Tubes
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today Extension Tubes - These are a handy way to turn any long lens into a macro lens for ultra-close shooting. They are hollow metal tubes that are mounted between the camera and the lens. Typically they come in a set of different lengths which can be combined. It is a good idea to open up the lens a little when using an extension tube, as a little light is lost. It should be noted that they do not work when used with wide lenses.
Learn more at Mark Cella film theory , Mark Cella film studies
Today Extension Tubes - These are a handy way to turn any long lens into a macro lens for ultra-close shooting. They are hollow metal tubes that are mounted between the camera and the lens. Typically they come in a set of different lengths which can be combined. It is a good idea to open up the lens a little when using an extension tube, as a little light is lost. It should be noted that they do not work when used with wide lenses.
Learn more at Mark Cella film theory , Mark Cella film studies
Wednesday, February 18, 2009
Lens Flare
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: – Flare - This has two meanings: 1.: When using film on a daylight spool, the erratic pattern of raw light that washes out the beginning and end of the roll are known as “the flares.” 2.: A flare of the other kind is a Lens Flare. It is caused when light strikes the lens and either causes the entire image to be fogged in appearance, or for a little row of polygons (the silhouette of the iris) to appear from the light hitting the surfaces of the many elements in the lens. It is solved by flagging the lens.
Learn more at Mark Cella film theory , Mark Cella film studies
Today: – Flare - This has two meanings: 1.: When using film on a daylight spool, the erratic pattern of raw light that washes out the beginning and end of the roll are known as “the flares.” 2.: A flare of the other kind is a Lens Flare. It is caused when light strikes the lens and either causes the entire image to be fogged in appearance, or for a little row of polygons (the silhouette of the iris) to appear from the light hitting the surfaces of the many elements in the lens. It is solved by flagging the lens.
Learn more at Mark Cella film theory , Mark Cella film studies
Sunday, February 15, 2009
Filters
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Filter - A tinted glass or small tinted plastic sheet placed in front of the lens or behind the lens in a filter holder, used to change the color rendition of the entire shot. Filters are used to convert tungsten balanced film for use in daylight or vice versa. The can also be used for aesthetic reasons, such as a red filter to darken the sky when filming in black and white.
Learn more at Mark Cella film theory , Mark Cella film studies
Filter - A tinted glass or small tinted plastic sheet placed in front of the lens or behind the lens in a filter holder, used to change the color rendition of the entire shot. Filters are used to convert tungsten balanced film for use in daylight or vice versa. The can also be used for aesthetic reasons, such as a red filter to darken the sky when filming in black and white.
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, February 12, 2009
Foot Candle
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: – Foot Candle - Measurement of light. One foot candle is the light of one candle, one foot away. Many light meters will use foot candles as a starting number, which then must be converted into an f-stop based on the sensitivity of the film you are using. (Because of the great variety of different film speeds it is sometimes ambiguous to talk too much about foot candles, since a given number of foot candles will not yield the same f-stop from one film speed to another.)
Learn more at Mark Cella film theory , Mark Cella film studies
Today: – Foot Candle - Measurement of light. One foot candle is the light of one candle, one foot away. Many light meters will use foot candles as a starting number, which then must be converted into an f-stop based on the sensitivity of the film you are using. (Because of the great variety of different film speeds it is sometimes ambiguous to talk too much about foot candles, since a given number of foot candles will not yield the same f-stop from one film speed to another.)
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, February 5, 2009
Extra Fade
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Extra Fade
A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. Fades are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of black into the A&B rolls. Labs will only do fades in fixed amounts, such as 24 frames, 48 frames, etc.
Learn more at Mark Cella film theory , Mark Cella film studies
Today: Extra Fade
A transition from a shot to black where the image gradually becomes darker is a Fade Out; or from black where the image gradually becomes brighter is a Fade In. Fades are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of black into the A&B rolls. Labs will only do fades in fixed amounts, such as 24 frames, 48 frames, etc.
Learn more at Mark Cella film theory , Mark Cella film studies
Wednesday, February 4, 2009
Sound Fill
Mark A. Cella is a distinguished fellow of film studies at California State University in Los Angeles. He’s a published writer on Cinema History and Film Theory. He has directed over 35 shorts and documentaries, including the award winning “Marlboro House”, which took top prize at the 2006 Slamdance short competition.
Today: Sound Fill
Filler, Fill or Sound Fill - Filler is scrap film, most often used to keep a sound track running the same length as the picture, even though there is just silence. When used this way in can also be called sound fill. Filler is usually a print with the emulsion scraped off the center all the way along, perhaps to prevent bootlegging, but also useful in that a mark can be seen on both sides through this wide scratch.
Learn more at Mark Cella film theory , Mark Cella film studies
Today: Sound Fill
Filler, Fill or Sound Fill - Filler is scrap film, most often used to keep a sound track running the same length as the picture, even though there is just silence. When used this way in can also be called sound fill. Filler is usually a print with the emulsion scraped off the center all the way along, perhaps to prevent bootlegging, but also useful in that a mark can be seen on both sides through this wide scratch.
Learn more at Mark Cella film theory , Mark Cella film studies
Thursday, January 15, 2009
Mark Cella Loves Brides
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
Kate Hudson and Anne Hathaway star in this friends-turned-brides-turned-rivals comedy. It's been awhile since we last saw a wedding comedy. Apparently, the movie-going public was ready, as Brides Wars turned in a $21.5M performance.
Cast: Anne Hathaway, Kate Hudson, Bryan Greenberg, Candice Bergen
Kate Hudson and Anne Hathaway star in this friends-turned-brides-turned-rivals comedy. It's been awhile since we last saw a wedding comedy. Apparently, the movie-going public was ready, as Brides Wars turned in a $21.5M performance.
Cast: Anne Hathaway, Kate Hudson, Bryan Greenberg, Candice Bergen
Monday, January 12, 2009
Brad, Benjamin Button Are Breathtaking
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
Did you know that Benjamin Button is based on an F. Scott Fitzgerald short story? Ironically, you could easily read aloud the story - and maybe write your own - in the same in the time it takes to watch the movie. But hey, it's quality filmmaking, maintaining the #3 box office spot with $18.7M.
Did you know that Benjamin Button is based on an F. Scott Fitzgerald short story? Ironically, you could easily read aloud the story - and maybe write your own - in the same in the time it takes to watch the movie. But hey, it's quality filmmaking, maintaining the #3 box office spot with $18.7M.
Friday, January 9, 2009
Mark Likes Marley
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
John churns out columns for a Florida daily but always aimed for a high-profile journalism career like that of his globetrotting buddy, Sebastian (Dane), who lands at The New York Times. Restless, the couple moves to Philly in search of more satisfying reportage for John, but, shucks, the guy's a born columnist: He's no muckraker, although he's pretty dang handy with a pooper-scooper. Marley & Me is less about dreams deferred than new, unexpected dreams emerging. And Marley, the dog from hell, (wouldn't you know it) turns out to be nothing shy of a gift from heaven. Sweet and wise and often laugh-out-loud funny (just like Grogan's book), Marley & Me isn't just for dog people.
John churns out columns for a Florida daily but always aimed for a high-profile journalism career like that of his globetrotting buddy, Sebastian (Dane), who lands at The New York Times. Restless, the couple moves to Philly in search of more satisfying reportage for John, but, shucks, the guy's a born columnist: He's no muckraker, although he's pretty dang handy with a pooper-scooper. Marley & Me is less about dreams deferred than new, unexpected dreams emerging. And Marley, the dog from hell, (wouldn't you know it) turns out to be nothing shy of a gift from heaven. Sweet and wise and often laugh-out-loud funny (just like Grogan's book), Marley & Me isn't just for dog people.
Thursday, January 8, 2009
Anniston, Wilson Make "Marley" Soar
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
Maybe they'll chew up those annoying blue notecards and then get to work on that maddening goatee-beard hybrid. Somebody ought to. But I digress. Wilson, seemingly fully recovered from whatever personal demons were tormenting him last year, plays Grogan with his usual battered charm, and Aniston, as his wife, Jennifer, is, well, Jennifer Aniston. Ostensibly a story about a mad, bad, dangerous-to-walk dog, Marley & Me has far more to say about the bonds that make up the modern American family.
Maybe they'll chew up those annoying blue notecards and then get to work on that maddening goatee-beard hybrid. Somebody ought to. But I digress. Wilson, seemingly fully recovered from whatever personal demons were tormenting him last year, plays Grogan with his usual battered charm, and Aniston, as his wife, Jennifer, is, well, Jennifer Aniston. Ostensibly a story about a mad, bad, dangerous-to-walk dog, Marley & Me has far more to say about the bonds that make up the modern American family.
Tuesday, January 6, 2009
The Animal Oscar Goes To?
Mark A. Cella is a well known film, restaurant, and lifestyle columnist for the San Jose Mercury newspaper. His column, first published in 1992 is considered a must- read in the area, with dozens of known collectors and online traders of his fine insights into movies.
Today: Marley & Me Pt. 2
Marley is played, very realistically, by several actual Labs, among them Clyde and Brody, who, although I can't tell them apart, frankly, have clearly mastered the craft of animal acting. Is there an Actors Studio for canines somewhere? Because they're turning out some amazing drooly thesps these days.
Never mind the frisky CGI superheroics of Bolt or the teary mawkishness of Old Yeller – Marley is into extinction-level household devastation, scandalous fecal shenanigans, and the terrorization of Kathleen Turner, all of which sound like great fun and indeed are. James Lipton (who voiced the director in Bolt, by the way) needs to drop whatever he's up to at the moment and get these rambunctious maniacs Inside the Actors Studio posthaste.
Tomorrow: Pt. 3
Today: Marley & Me Pt. 2
Marley is played, very realistically, by several actual Labs, among them Clyde and Brody, who, although I can't tell them apart, frankly, have clearly mastered the craft of animal acting. Is there an Actors Studio for canines somewhere? Because they're turning out some amazing drooly thesps these days.
Never mind the frisky CGI superheroics of Bolt or the teary mawkishness of Old Yeller – Marley is into extinction-level household devastation, scandalous fecal shenanigans, and the terrorization of Kathleen Turner, all of which sound like great fun and indeed are. James Lipton (who voiced the director in Bolt, by the way) needs to drop whatever he's up to at the moment and get these rambunctious maniacs Inside the Actors Studio posthaste.
Tomorrow: Pt. 3
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