Patrick McGowan

I've heard way too many different pronunciations of Beaulieu. I keep hearing "Bowl You" from people. Is that right?

I have been transferring super-16 to 1.85:1. I always thought this was using the full negative, but is it really just cropping my image?

Wow, ok sorry. I wasn't questioning you I just don't like the recorder. my apologies. It does have a lesser quality preamp, that is not my opinion.

I think 48K is a must for sync. I am wondering if you would get some drift in sync over time as your transferred footage would be effectively at 29.97 right? I am really not sure because I have never used that recorder for production sound, but in my experience that thing introduces a lot of electronic noise and it has a really terrible preamp. If you hook it up to a mixer you can make the signal louder to compensate for the preamp, but it is hard to get rid of the noise. The USB hookup is great though.

I am still trying to wrap my head around the endless aspects of digital post production. I guess I understand that 4k to 6k can capture film's resolution accurately, but what about the digital colorspace? I mean isn't that something that suffers when these digital files are scanned back to film?

Sounds like what happens on a lot of student shoots. unfortunately

I would do most of what is being said here rather than asking the colorist to give you more contrast. That could be hit or miss compared to the control you would have with a good color correction system. (unless you are getting a supervised transfer) Last time I shot that stock, I lit the scene a bit too flat and rated the stock at 400. I would rate the stock at 320, which should be the same as overexposing by 2/3 of a stop.

Half a cent would be a bargain! I am not a huge fan of The Third Man, it is a bit murky as far as the plot goes, so I will agree with you. I think as soon as Orson shows up in that doorway, the film gets a little better. I love the ferris wheel scene, but the final chase in the tunnel is almost anti climactic. I don't really know if this post adds to anything. I guess I just had a similar reaction to what is considered a "classic" film.

Doug Liman, Steven Soderbergh, Robert Rodriguez...

I'm not sure if the shaking is deliberate, I mean how steady can you be hand held with a long lens? The operating in Squid and The Whale is incredibly skilled, but I am not a huge fan of the look of Half Nelson, even though I absolutely love that film.

Well are these bulbs 3200k balanced and where can I find them?

I'm guessing this might be in another topic somewhere, but I can't find it. Are there tungsten-balanced bulbs that will fit some regular incandescent fixtures? Are these full spectrum bulbs? Any safety issues with using these bulbs? If anybody has any insights I would appreciate them. thanks

The A-minima is so delicate, I mean I'm sure you are very careful, but that thing really needs extra special love and care. As far as a flash based recorder, have you run into the Tascam HD-P2? It's pretty nice and allows up to 192K 24 bit recording. One drawback is the only model I've seen requires like 8 AA batteries to operate. I think you should be able to synch with 29.97 recording and 48k.

I really like this. With your first post I kind of thought you were crazy... but I really like the spirit of this. I mean, I don't know what else to say, I just have a thing for dinosaurs and this first bit doesn't look too bad.

Why did Kodak stop making 320T? Did they? I'm sure this has been asked before, but I haven't found an answer.

It's not a bad group, but they could have included Alfonso Cuaron, maybe instead of Frears. (No offense to him but Children of Men was far better than The Queen) I know it's a long shot, but I would have loved to see Ryan Fleck Nominated for "Half Nelson" I think he did some brilliant work with that film. Another long shot would have been Guillermo del Toro, but he deserved it as well.

Is this Felipe from FSC?

Could you maybe say what this "important" movie was? Because I saw "Half Nelson" which did basically exactly what you just described, but I thought it worked beautifully for the story, it was a really honest movie and it worked. I'm not trying to argue anything, I'm definitely no where near your level of film knowledge, I guess I am just curious as to what film you are describing.

Thank you for the insight into this problem. It's my school's camera so I don't really have the chance to set up any cardboard related tests. Nathan, you might be seeing this camera, I think they might send it down to Abel Cine to get serviced, but I'm not sure.

Gondry and Kuras was good at least for two? movies.

I was test shooting on my school's A-Minima, and I noticed aproblem of the shutter being out of alignment. I didn't drop the camera or mistreat it, but for some reason part of the shutter was visible in the view finder. The problem seemed to occur pretty inexplicably, all of a sudden I could see a quarter of the shutter in the frame and when I took off the lens I noticed the shutter had stopped past it's normal position. Does anybody have any thoughts on what would cause this?

I saw an article that compared some film costs from American Cinematographer. The article is about the DVX, but they compare the cost of 16mm, 35mm, and video with a film out release. Their estimates for 16mm: -Quote- · 100 x 400' foot rolls of raw stock @ $140 per roll = $14,000 · 40,000' x $0.14 per foot for processing = $5,600 · Video dailies = $18,000 · 35mm Optical Blowup with titles & opticals = $43,000 -Quote- that would be $37,000 without the blow up to 35 and $80,000 with it. I'm sure this is not accurate for all stocks and processing, and it would definitely all depend on how much film you shoot. Here is the article http://www.theasc.com/magazine/product.htm

Does 1/24th have too much smear? I kind of like the look in certain situations...

I just saw this today at the Landmark Embassy Theater in Cambridge. The cinematography, which earned James Longley an award from Sundance, was absolutely beautiful. Every shot was interesting, and most of the shooting was handheld with a DVX. It is not an "in your face" documentary, it is very subtle and slow moving. I was really shocked by the amount of access Longley was able to achieve and really follow through with the stories of his characters. It is not really a violent film, it is more about the people of Iraq, and broken up by stories about Sunni, Shia, and Kurdish people in Iraq. The film does not take sides or inject anything political. It shows in great detail the lives of people who our government takes for granted every day in an effort to bring "democracy" to the country.

I'm enjoying the not-so-subtle sexual innuendos in a lot of these pictures. Although it is a bit gross to see a magnified 4K version of someone's moles on your computer screen.