Murthy SNB

Hi all, I am new to digital,going to shoot a feature film with EX3,& film out for theatrical release, please suggest me the exposure guides, precautions to take,Both Indoors & outdoors, what is the EI I should take? regards murthysnb Cinematographer.

tell me what are the doubtful points pl

Yes the Russian anamorphic glasses work perfectly and I have adapted one to my Eclair NPR & Zeiss 10-100 zoom lens, It works perfectly,the adaptation work should be precise It is regular 16 simply blown up to 35 to get 2.40:1 cinemascope, which result with thick frame line, no cropping either side or top/bottom full regular 16 frame fits to 1.33:1 35mm with 2.40:1 anamorphic, In projaection use normal 35mm gate, or even with anamorphic gate, the top/ bottom appear as black border, very simple, no techmical problems encountered down stream work flow, hugely cost saving in terms of Negtive cost, www.16mmcinemascope.com murthysnb cinematographer

low-budget film makers & Directors, a great opportunity to reach BIG SCREEN shoot 16mm cinemascope DIRECT, go for regular blow-up to 35mm, get 35mm cinemascope print for theatrical release,a save of 75% on Neg.cost, No DI, save on DI cost. www.16mmcinemascope.com

I have converted my NPR with anamorphic lense,and I can shoot 16mmcinemascope, and with regular blow-up to 35mm we can get 35mmcinemascope print for theatrical release? www.16mmcinemascope.com

Now it is possible to shoot Direct 16mm Cinemascope,and with regular blow-up to 35mm, and get 35mm cinemascope release print for theatrical release,with specially adapted cinemascope lenses for Eclair NPR,which is simple and can be blow-up printed in any processing Lab.which saves 75% 0n Neg,cost,does not require DI,again a save of DI cost on DI.a great advantage to budget film makers& Directors.

pl send photo, specs,& price, moortysnb@yahoo.co.in

The simplest way of shooting anamorphic in 16mm is to go for regular 16mm insted of super 16mm and having a anamorphic adaptor on prime lenses, and go for regular 35mm blowup, for theatrical release print, where youwill get the letterboxed cinemascope of 2.35:1 print, regarding the ground glass, you can shoot full frame within safe area square mark, you may not get the desqueezing in the finder, you have to get a bit adapted to the squeezed image in the viewfinder, Murthy SNB

Thankyou Mr.Jonathan for kind answer, I have changed as the guideline suggested can you guide me about any opportunity to attend a lighting workshop? regards Murthy SNB

Hi, What is that makes you DOUBT about my name ? MURTHY is indeed my ACTUAL / PROPER name, Since I am a Cinematographer of 20 yrs field experience, in feature films, and during my trip to UK, I wanted to gain more INSIGHT in to the Advanced lighting technics and artistic experience, and thought about possibilities of attending workshop regarding lighting, NOT A BEGINNERS INTRODUCTORY CLASSES, hence I thought that lighting forum be appropriate regards murthy

I want to attend an INTERESTING, ABSORBING AND TO LEARN MORE ABOUT Feature Film Lighting, in London UK senior Cinematographers please SUGGEST, a short one in Oct, 07, Nov.07 would be Ideal for me, with regards murthysnb

Shooting 16mm anamorphic 2:1, then do a normal/ regular bolwup 35mm release print for theatrical release is possible, but while blowup the 35mm full frame is not possible, and a letter boxed 1.85:1 frame will result out of the blowup, but with 2:1 squeeze, which will not have any complication in having screened in any commercial theatre, with a black border on top and bottom which will not be noticed by any cinema viewer and will not affect the viewer, I am doing the anamorphic 16mm shooting for low budget feature films with adapting 35mm anamorphic lenses on to Eclair NPR 16mm and they are bulky sure but for the low budget commercial features it is worth taking the trouble and complications, which are released in a limited theatrical release,with commercial viability,

The NPR is with registration PIN, and runs 4-40 fps, ACL does not have registration Pin, and runs up to 75 fps, may be NPR is heavy but also sturdy with rock steady images, and 35mm blowup prints for theatrical release are sure advantage,

Kodak do have their own lab in Mumbai,for negetive processing only, and Prasad lab Bangalore is also accredited by kodak, As pytalk mentioned you can get the stock by contacting Mr.Ananth of kodak bangalore, his mobile No.is 9886008642 Murthy

No you need not worry,shooting with bolex hand held murthysnb

Hi Stephen, If you have a support network, then it is better get the SPONSORSHIP/ INVITATION letter for your project along with permission letters from the concerned govt. departments, you can attach the copies of the Invitation & permission letters, should not be a problem to get visa, unless the subject is not involved any controversial matter, If you can tell me about the places where you are going to shoot and a line about the story, I may be able to tell you from which of the departments you may need to get the permissions, regards murthy

Anamorphic is verymuch viable with regular 16 than on super 16, you can understand it if you carefully go through the aspect ratios, as for the lenses concerned, yes it will be prohibitively costly for new ones if MADE/PRODUCED but anamorphic adaptors are best and easy way, which I have done and getting 35mm cinemascope release prints, with 1.85:1,

1) you can shoot in regular 16 with anamorphic , not in s16, 2) using 35 anamorphic lenses are quite cumbersome/ very tedious & laborius, INSTEAD anamorphic adaptor on basic 16mm camera lenses is more friendly, 3) with anamorphic image it after unsqueezing it is normal letter box on tv screen, the ratio will be 2.40:1 4) with the (2) above mentioned method, you can get 35mm cinemascope release print, for theatrical release, again ratio is 2.40:1 I am using the system with anamorphic adaptor for low budget feature films with Eclair NPR the results are if not AMAZING, very very satisfactory,

I prey and hope you recover fast,

On the otherhand you can use anamorphic lens on regular 16mm, get a straight 35mm anamorphic blowup release print for theatrical release, without going in to D I and other cost escalating methods murthysnb

request to all, please let me know about the risk if any and work environment in ghana, I am being offered an assignment of shooting in ghana, with regards, murthy S.N.B.

Hello, Please let me know how the salary payment terms are determined in international level, like I am from one country, and engaged in some other country, and how the exchange is effected, full payment in advance?, how the salary to get transferred ? the PRECAUTIONS to taken? observed? followed?

Thankyou Mr.LV but in the blowup print there will be top & bottom strips will be there and the aspect ratio be only for the image area to be taken? is it not so? Murthy

P S. what will be the aspect ratio of the blowup release print,from the 16mm anamorphic neg to 35mm anamorphic blowup release print? with regards,