Chris Burke

ProRes HQ

That is SD, is it not?

The shipping and VAT and risk factors might negate any savings. Yet people do it often enough. With minimal fuss.

I watched the first two and probably no more. The fee is the deal breaker for me. With all the great content already out there, this show isn't or hasn't yet discovered any new ground. To have to pay and sit through commercials for a mediocre show... Yet again, establishment Hollywood plays it safe with cookie cutter Federation scenarios. Same story just with new production design. I have to temper my critique by saying the cinematography and production design are wonderful. I am with David, what is wrong with flares? The costumes and sets are rich and very detailed. Love the lighting, the colors, the sets. Is that bridge underslung? Beneath the saucer section? If so, kinda cool. The make up is top notch. Huge shout out to all the MUD grads from Burbank and beyond who worked on Discovery. Very well done. I just wish it was more engaging. I am not emotionally invested in the lead or anyone else for that matter. The tiresome Klingons, despite a great look, are all talk and too much of it. We all know that many will die along the way, but the Klingons will loose. It does look big budget and it probably is, which limits it's chance of survival.

just looked it up. It will meter at 400 for the 500t and it does have a 150 degree shutter. My previous statement still stands though. One stop over using an external meter.

I don't know for sure but probably as 160. I would not use the internal meter or the internal filter. Disengage the filter and meter manually at one stop over.

Is it worth paying for?? With all the streaming already about, is it worth yet another username and password and monthly payment? I haven't seen it, cuz I missed the broadcast and don't really want to pony up.

Dirk, have you not recommended here in the past that '22 be rated at iso250 if scanning? Over exposure isn't dealt with that well if scanning. ??

Rate it at at 25 to compensate for lifht loss in camera. While looking through the lens with a bright light shining in from the film compartment push the lever that pushes the filter in and out to make sure that the filter is out. Usually this is on the indoor setting. Putting it on the indoor setting will disengage the filter which you always want to do. Those filters are old and will degrade your image. The filter is only for use with tungsten film. You'll be shooting the daylight film and do not need it anyway.

Also consider using 200t instead of 500t. This may or may not work for you. ?? It will give you cleaner shadows in low light situations.

The Zeiss super speeds mk3 at boston camera make for a very sharp image. The widest aperture have ever used on them is T2. They were extremely sharp at that T stop.

Tyler, hiw did you find the Xeen lenses on S16?

I have been less than 5 feet from an Aaton Penelope 2 perf when it was running on a very quiet set. Some of the ACs were putting their ears up to the body to see if they could hear anything. (not during a take) Completely quiet from where I was standing

I doubt it is a camera issue. Could be: Film stock issue-it looks old Development issue Scanning issue - get it rescanned on a Scan Station.

I never saw the original but would definitely rent it. Is it still available?

can your camera output 4k? if so and you are finishing to HD, then shoot in 4k and you will have all the resolution you need for stabilization in post. More consumer cameras have built in stabilization that is used during production. I have used a Canon Vixia HF s100 on occasion and it has such a feature. It works rather well.

This is on Super8arena.com http://super8arena.com/sankyo-xl-210-supertronic-p-155.html

I would not get a trash can Mac Pro. Buy a Mac Pro 5.1 12 core Xenon and max it out. Much more bang for the buck

Your video looks great!! Watching the black and white, I thought, Why not just use 7266 in Super 8?

Very nice work. Did you do some sort of post-production stabilisation? The stop motion animation is very good. Very good exposure.

was the "under the stars" scene shot day for night? Beautiful work by the way. Lots of people ask about budget for a S16 feature compared to a digital camera. So for their benefit, what was your budget and what ratio did you shoot at?

I would add that some segments in the new Twin Peaks could be considered experimental. Also Check out: www.Roberttoddfilms.com A rather prolific experimental film maker

The Fighter, American Hustle and Joy are all 2 perf. Jackie, Carol were S16. Those are just a few that come to mind. What Reggie stated is correct though. If you are concerned about less than one percent of the audience, OK, but otherwise no one will care

There is a story, how do we get everyone off this beach. We see several characters large and small attempt to do that. We see their personal triumphs and failures along the way. Plenty of character development. Look at the character that Cillian Murphy plays. As it has been said here before we all know the story, but it is what Nolan chooses to show us that is brilliant.

Just got back from the "regular" 70mm 9pm screening of Dunkirk. Wow! Has to go up there as one of the greatest war films in film history. Christopher Nolan has firmly cemented himself as one of the greatest auteurs in cinema. a few spoilers follow Cinematically I was blown away. The shear size and definition of the frame was mesmerizing. Ironically I had just watched a piece earlier in the evening about Elsa Dorfman and her giant Polaroids. I was amazed at how sharp they are. Then later in the evening going to see this film, the sharpness was very much the same, despite the giant Polaroids being much larger. Loved how you never see the enemy. The sound design is as good as the visuals! The beach scenes, either in a wide shot or close up are probably the most beautiful, but I am splitting hairs. This film is a perfect match of format and story. It was in every way worthy of expense and extra effort it took to shoot in 15/70 and 5/70. I am just rambling for the most part because I was very impressed in a good way by this film and am still processing it. If you can, go see a film presentation of Dunkirk, not digital. Go to an arthouse, their projectionists usually do a better job than a megaplex. But go see this film. It is subtle and gigantic at the same time.