Tony Brown

Sorry David my terminology was confusing If I rate the stock on my meter at 1000 it'll come in a stop under (Heavy exposure for me is referring to the T stop not the amount of light given) = thin neg (my preference). My choice of words was poor. Good job I never actually change the meter eh?

Never understood those graphs. I just frown and go "hmmmmm.....interesting"

Definitely not (though all relative to the way you take readings and your meter I guess). I always rated 18 at 500 and often rate 19 at 1000. I prefer to give heavy exposures and dig in TK if necessary

Top of the list Max..... Everyone seems to be buying them up and re housing them. Also People are apparently resorting to Bosch & Lomb's from the 60's to 'counter' the over sharp images

Hi Illya Movietech in London have been extremely helpful and explained to me that the image was RAW and no manipulation was taking place... what I misunderstood was that the output to the monitor wasn't a true representation of ythe RAW image. The debayering was apparently reponsible for the difference in sharpness between the viewing system and the image on the monitor With video assist from 35mm its not difficult to explain to clients that its not a true representation of the film image.... however many directors / clients / agency are not so easy to convince when it comes to HD. I am however struggling with Hi def images in general. They seem extremely harsh in their natural state and I'm keen to start testing soon to find a way to soften the overall image, be that by lens choice, filtration or post. Regards Tony Brown

I went to see a Dalsa camera today. The sharpness was just hideous. It appears that the camera artificially sharpens the image, is there some way to turn this off? Thanks

Gee you think? I'm not sure a couple of $k shipping will make too much difference to the price of a a 7kw xenon It really makes no difference where it comes from Karl - I assure you

Budget is whatever a 7kw xenon costs and they ship so location irrelevant. As to what a cinematographer might use it for........ Never mind - I'll ask elswhere

And exactly what form of embellishment would you prefer? An eight point star? Thanks Max

OK. Lets try where from?

Which one ?

Why light the whole place? Boring. Concentrate on the important area(s) and let the rest go. Get the Art Dept to dress some reflective objects around and use a light haze to spread the highlights from these. Have a few wild Coolie shades with praticals on dimmers to float fro angle to angle. fast, realistic and effective Remember the best tone on the screen is black. Without black, colours have no punch.

Used these last year - 500 Euro's a day - couldn't believe it, I really thought they were kidding. They were quite offended when I called them about it. Streak filters will give the horizontal flare without the blue - About 50 Euros a day

....and get fired for relying on the weather 20k molebeam. Currently my favourite light

Second that...... from experience. Nothing more boring than reshooting animation I assure you..... ALWAYS use a capping shutter.

You lot are sick........ if ever a script really horrified me it has to be Seabiscuit......

It was indeed highly acclaimed. I never made the end - it was extremely poor.... posh kids playing tough kids has never and will never work. Certainly not the England I remember......

Probably me.... :rolleyes:

Probably the best reason to use them. I'm about to defect to Series 3 Cookes...... enough of exaggerated sharpness and contrast....

Maybe once every 3 years... you can drive yourself nuts with them. On most occasions I'd rather trust my eyes as far as blue/orange goes though I find that harder for Magenta/green. I used mine recently in a bank in Istanbul where it was impossible to replace the all the overheads and it looked ridiculous switching them off. However the meter indicated I need half minus green which looked WAY too much. The gaffer checked with his meter - same reading. I went with quarter and it bugged me all day... still looked way over the top. Sure enough in the grade there was a little magenta/pink where the sources were reflected in their housings but the rest graded ok. Trouble is if you dont carry one you'll need it, carry it and you dont trust it anyway..... better to have the information and make a reasoned decision than just guess though.... Luckily I rarely find myself in a situation where I need one. Obviously the best option is to test. I know its usually a time factor but it really only takes a few feet of film.... even through a still camera loaded with some vision 2......

The meters are still made but branded Kenco.... http://www.adorama.com/KNKCM3100.html

Good attitude. Agree with that entirely. There's ALWAYS time to get marks, tape, laser, thats just a wimp out. As you say, if there's no other option you wing it..... I've heard of DP's doing this on the slate and with good cause..... but if an AC does it it just projects a very bad, inexperienced attitude. I worked with a Turkish 1st AC recently who cut the camera because the actor missed a mark..... Same thing. Wont be seeing him again. Express you're concerns to the DP by all means, in fact its your job to do so, its why you're being paid, but putting that on the slate is a step too far

Precisely. I'm always trying to get rid of shadow detail, blow out the light source. I do feel the craft is being eroded, the stock (lighting aside) is becoming more and more point and shoot, the majority of stuff I see is down the middle, what you see is what you get. It's like a golf club being developed that doesn't hook or slice, great for the hacker, but so much more difficult for a good golfer to shape the shots (I don't play golf by the way) But then I spouted all this nonsense when 5212 whacked 5247 so King Knute springs to mind

If only projection were always that good Max..... Wonder why they printed onto Vision and not Premiere? Does Premiere deepen the blacks too much?

I saw the Kodak presentation in London today and was a little underwhelmed. The increased saturation was (IMO) quite unpleasant. Everytime the stocks 'improve' they seem to get more saturated, sharper, more latitude.... everything I hate :) Couple this with the newer lenses and its all looking too much like a digital source. I suspect that 5212 with lifted light levels would look very similar to the new '19 I'm going back to Mk III Cookes..... they at least give results that look like film...... I love being grumpy