Rob Wilton

Thanks for the replies! Dear Jon Say for example you want to film a shop you pass by, from the POV of the car You're shooting 24fps, and the shop is 30ft away. How fast would the car go before the details of the shop (for example the sign) becomes too blurred to read? cheers Rob Wilton

I was thinking of shooting out of a car, actors not in frame. I just have no idea how much the background will blur with a moving car. Say for example you want to film a shop you pass by, from the POV of the car How fast can you go before the details of the shop (for example the sign) becomes too blurred to read? I cant imagine people knowing this by heart, but any tips are extremely welcome :) thanks! Rob Wilton

Dear all, Im shooting using a car rig, on 35mm. Im not sure I have the money or time to test it out properly, with film. Im especially interested in the fuzziness of the background once the car gets to a certain speed. I understand there are factors such as lens, distance from camera and the speed of the car but does anyone have any tips, or rules of thumb from their own experience shooting from out of moving cars? much appreciated!! Rob Wilton

Nick and David, thanks for your help! Was wandering , because Im doing a transfer digitally, will the correcting of colours of my skewed greyscale affect the quality of the final picture.... in contrast to if I just put the 81EF in and not mess around with digital grading? Rob

Dear Nick, Im shooting 16mm Tungsten (ending on digibeta) for an entire shoot and have some scenes outside. I wanted a blueish look to the outdoor scenes and liked the way the 81EF looked on Tungsten film. What I REALLY want to do is shoot the greyscale skewed and correct to the blueish 81EF look in the digital transfer, to gain as much speed as possible during the shoot. How would you go about doing this? thanks again! Rob Wilton

Dear all, to get the effect of an 81EF filter using Tungsten stock, what filter would you use for daylight stock? thanks a lot! Rob Wilton

Oh sorry, Im shooting 16mm

Dear all, please help me out...... based on a student shoot that is going to digibeta through digital transfer Im shooting a short on 500T and would like to add some grain, in camera. Push process development is more expensive so I was thinking whether this was possible by just rating the stock at 800 ASA or even 1000 ASA. If u rate 500T at 800 ASA, including the greyscale.....will the negative show up underexposed at the TK and then be brought up to normal exposure, so adding digital grain(?) Or will the less-dense negative show up normal with the added grain and rest of the bag that comes with it? Something I really dont know - do labs look at greyscales for neg development? thanks so much for you help! Rob Wilton

Dear Phil, sorry my credit ran out and the file was too big, here a second attempt... the pic is from the beautiful film The New World Rob

Dear all, Im lighting a hut interior, and would love to get a dark blue sky like in this picture. How was it achieved? Filtration, right time/right place, grading? Thanks for your help! Rob Wilton

Dear all, I was just wandering if these two type of approaches look different to the eye: - grain added in post production (using the Spirit) - or grain that comes from the film stock (i.e. underexposing on a fast film stock) I understand the philosophy behind both working methods, but am curious how they stand up against eachother thanks! Rob Wilton

Dear all, this question must have been asked many times, but I cant find it on the search mode, so if anyone can send me a link that would be cool......or answer my question :) Im interested in the "look" of S16 lenses, for example the Cooke 2, 3, 4 series, the Zeiss Superspeeds, Distagons and UltraPrimes. How do they differ? Ive heard that Zeiss can be sharp and Cooke more gentle? thanks for your help! regards Rob

Dear Stephen, can I assume that the 500T is more grainy but less contrasty then? regards Rob

Hello all, Im looking for low contrast Fuji stock... would Eterna 400T be the only one that I know of? Is it less contrasty than the rest of the series? thanks! Rob Wilton

yeah great, my search function doesnt work would somebody mind referring me ? thanks! Rob

Dear all, this question has probably been asked a thousand times before... wandering what the differences between the fuji stock and kodak stock are. Im shooting super 16 and using the 250D stock of either Ive heard stories about Fuji being metallic yet pastel, and Kodak more vibrant. Just wanted to hear your thoughts instead of just through the grapevine thanks! Rob

Thanks everybody! I start shooting next Saturday, I'll try to keep my eyes open and try not to visualise that clip too much :) Rob

Dear Jonathan, I think you misunderstood my question. I meant to compare standard interior practicals (around 2900K) to HMI (5600K). If after a couple of minutes on set ur eye adapts, and u start seeing your HMI lighting as white, then hypothetically the practicals would start looking quite red? Or not? Does this reasoning apply to coloured gels as well, in comparison? thank you! Rob Wilton

Dear all, Im interested in the Tiffen Enhancing filter, does anyone know how it reacts on skin tones? Ive already seen the nice effects on autumn leaves.... thanks! Rob Wilton

Dear all, Im shooting next week mostly with HMI lights. Its almost a 1st for me, because Im used to shooting with Tungsten lights in the studio. My queston is maybe too personal, or not at all. How would you light by eye if youre using HMI's next to 2900K practicals, and youre used to using tungsten lighting as a standard. Does the eye adapt to the standardized colour temp (5600K) and the practical would automatically look a lot hotter (colour temp wise) whilst next to HMI lights? Does this also apply if you use coloured gels? thanks! Rob

Hello all, Im lighitng a super16mm short, and I'd like to give it an autumn-like quality to it, does anyone know of any good films that I could look at for reference? thanks! Rob

Hey, Im interested in buying a sekonic light meter, to use on set for my student production. The cine version of newest light meters are way more expensive than the regular one..... can anybody tell me the diferences between the two, and whether its worth the extra money? thanks!!!!! Rob Wilton