Panayiotis Salapatas

Hello, I am in search of a DI place in Europe in order to scan, color and transfer a film that I shot in super 35mm. The film is a greek production which was shot in the States. Unfortunately the budget is quite low in order to pursue DI there. I await answers from ARRI in Germany as well as from DFF Finland. Does anybody know of any other DI places? Thank you

The Zeiss lenses I am referring to are the superspeeds.

Hi, Has anybody done any comparison tests of the zeiss T1.3 vs the S4 Cookes? I shot a test today and I am waiting for the results. The test was a small one with only the 25mm of both makes. Has anybody done any excessive tests? Thank you

Hi, I am shooting 35mm at 24 fps under fluorescent lighting (in the US) and at times on a ship. Will the flicker be noticeable? It might be difficult to substitute the fixtures? Thank you

If I use an LCD screen then let's say off a mac laptop and shoot the image through Youtube I should be OK. Would it matter if I shot the video it at 25p (rather than interlaced) and then film it at 24fps? Thanks

Thank you again for all your help. I also wanted to ask the following. We want to transfer the dailies to a hard drive too too. Do we need to go telecine them first to tape first and then digitize them?

It makes sense what Dirk says regarding a one-to-one relationship between film frames and video frames when running the film at 25fps for a PAL telecine. But how is that not affected if the film is telecined at 24fps? 24film frames are fit into 25 video frames. Where is the extra video frame fit into all this? Also I talked with Delux labs and they can provide HD dailies which run at 23.98 fps. Except the image quality wouldn?t that be easier since it is cloer to 24 film fps? Thanks ps. It?s true I haven?t considered the sound in all this but I assume FCP can easily adjust for that.

Hi, Any suggestions on how to shoot off a TV screen (35mm at 24fps) in the US and not get a flicker from the 60Hz cycle? Thank you ps. the 35mm camera is a Moviecam compact

On that note when labs in the States do a PAL transfer do they transfer to NTSC and then perform a 3:2 pull down? I was told they do that because of the 60Hz cycle in the States rather than a 50Hz.

Hi all. I am shooting a feature film in the US (35mm) and want PAL dailies which will be used for editing as well as for viewing in FCP. My question is do I shoot at 24fps or 25 fps since PAL runs at 50 fields per second? If I shoot at 24fps do I telecine the film at 25fps? What happens if I want HDV dailies? Anybody knows labs where I can do this? It seems a little difficult to find PAL dailies in the States. Thank you Panayiotis Salapatas

Hello everyone, Does anybody know where I can buy 35mm Fuji film in the States? Eterna 250D and 500T. I guess there must be a few places. A few links would help. Thank you

Hi all, I just completed a short film with the Canon XLH 1 camera. It was shot at 25p in extremely low light situation and the shutter speed was set to 1/25. The film is intended for 35mm transfer. Has anybody had any experience with transferring material shot at 1/25 shutter speed and seen it projected? Thank you ps. I know about the image blur but could not find the difference that noticeable between 1/50 and 1/25

Hi all, Anyone knows of any 35mm cine labs in New Orleans? Thank you

Thank you all for your input. I hope to test these stocks very soon and let you know how they turned out.

Hi all, I am going to so some tests (35mm) with anamorphic lenses (for an upcoming shoot) and wanted to know your opinion about the Eterna 400 and 500 stocks. Planning to use those for night shoots. Also planning to shoot the Reala 500D for all exterior daylight shots. Will also shoot the Vision3 500ASA Kodak for comparison. Any suggestions or experiences with those stocks? Thank you.

Hi All. My name is Panayiotis Salapatas and I am looking for an assistant cameraman for a greek production set in New Orleans (around ten days) and then Alaska for a month and a half. I will be the DP for this low budget greek production and I am looking for someone who is mostly interested in adventure. There are at least two weeks of shooting in a boat out in the open sea. As things stand right now the movie will be shot on film with anamorphic lenses. I would appreciate if you could contact me at psalapatas@hotmail.com. Dates are April 14th up to early June. Thank you

Thank you all for your comments. Next week I will be doing some tests and will let you know how it will turn out.

Hello David and everyone else who is reading this. I would like to know how easy or difficult it was to shoot with anamorphic lenses. Our film will take place in N. Orleans and Alaska at times in tight spaces on a tug boat. One idea is to shoot 3-perf (spherical lenses) and frame for 2.35 (with a DI process most probably) and the other ofcourse is to go with anamorphic lenses. I am looking into some Hawks lenses which I can get here in Greece. I think they start at f/2.5. We might even mix both routes for aesthetic purposes. The direcotr also plans to do a lot of hand held work. Thanks.

Hello all. I would like to hear from someone who has shot an anamorphic feature. I am planning to shoot a feature and I am considering the anamorphic route (using Hawk lenses). It is a greek production set in Alaska. I have read about the size of the lenses and shallow depth of field but would like to learn more from someone who has had hands on experience. Thank you

Hi all, I am planning to shoot a feature film on HD to be tranfered to film for theatrical release and the question of cameras has been brouhgt up. One of them is the SONY PDW-F350. Has anybody used it and seen the final output to 35mm? Has anybody shot with the JVC GY-HD100U and seen the filnal result in 35mm? Thank you

Hi Stephen, The reason for the 500 ASA stock would be the grain and a look that stays homogeneous. There are a lot of interior shots in the script so I thought I would use that stock sensitivity. I did shoot a movie in the Philippines a few years ago with Fuji 500 ASA with many exteriors and it came out fine. Ofcourse there will be extensive tests. I will also consider a 250 ASA for exteriors. panayiotis Hi Micheal Thank you for your extensive answer. Right now there is nothing definite. There is a chance that we will go to the Diomedes islands. the location scouting will give us a better idea. No, the film has nothing to do with Sean Penn's production. I write to you from Greece and it will be partly a greek production (or european co-production). Thank you for offereing your help and I want to be in touch with you. As soon as I have more specifics about locations and dates I will let you know. Panayiotis

Hi, I intend to shoot in Alaska and I am trying to achieve a desaturated pastel look. Has anybody shot there (around September). How are the lighting conditions and what film stock do you guys recommend? I will do tests ofcourse but wanted to get an idea. A great deal of the film takes place in a tugboat. What about the FUJI ETERNA 500T 8573 or the KODAK VISION2 Expression 5229 500T. I am also thinking about the discontinued stock the KODAK 800. Thanks Panayiotis

David I have some more questions. Shooting super 35mm - 4perf one can go to 1.33 or 1.85 or 2.35. These ratios I guess depend on the ground glass markings unless one goes hard matting. What about the 3-perf? One can get the same ratios like in 4perf? Thanks panayiotis

David, Once again thank you for your reply. I have a few more questions. Even though it's difficult renting a 3-perf projector on location I could always telecine the super 35mm - 3-perf for dailies. Of course it's not the same thing but still I coulg get an idea. Is that what you meant? Also is super 35mm -4perf 1.78 too? I am a little confused as to the aspect ratios of super 35mm 3-perf and 4-perf and don't want to bombard you with questions. Do you know of any web site where I can get some more information? Last - why do I need to mix 4-perf with 3-perf? Why can't I rent a 3-perf camera and shoot the entire film? I am a little unclear to that. thanks again Panayiotis

Hi David, Thanks for your reply. So the main reason for shooting super 35mm-3perf as oposed to super35mm-4-perf is the 25% cut in film and print costs? panayiotis