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Thomas James

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    Camera Operator
  1. Okay maybe its a deinterlacing artifact caused by a line doubling bob deinterlacer. Unfortuantely most people attribute deinterlacing artifacts only to weave deinterlacers which produce cog like artifacts but there are a lot of other ways to deinterlace.
  2. You are seeing interlace aliasing artifacts.
  3. You should have bought the progressive scan camcorder.
  4. And not even the 65mm IMAX format was immune from the heat of the competion from high definition video cameras. In response to the high definition's claim of superior motion fidelity, IMAX indroduced the IMAX HD format and showcased 2 movies called Momentum and Soaring over California. Although the IMAX HD format was never sucessfull the mere fact that IMAX directly tried to come up with its own answer to the threat of high definition picture quality is in fact monumental.
  5. So how many film shooters strive for that Red digital square box pixel look Tom?
  6. As long as video shooters try to achieve the film look, video will become a dying format at least in spirit. However in the future when film shooters try to achieve the video look in order to create better motion fidelity, film shooters will then question why they have to bother with shooting film in the first place.
  7. I think all this talk about using 65mm film to improve the quality of a 3-D movie is a joke. To improve picture quality 3-D does not need so much added resolution but rather a higher frame rate. This is because the hyper reality of 3-D makes the motion artifacts of 24 fps so readily apparent as to become unacceptable. Using higher resolution formats such as IMAX simply does not fix the problem.
  8. As long as Cinematographers prefer the film look over the soap opera reality look film will never die. Film will only die when film shooters strive to achieve the video look.
  9. Inception was filmed using 65mm film. Yet you are using that as a basis for recommending that 35mm film should be chosen for 3-D. If 5K digital is an inferior format compared with 65mm film then 35mm film will likewise be an inferior format.
  10. What I meant is that a producer can no longer rationally insist on the use of 35mm film as an excuse to weed out film makers from auditions but must accept digital content as well. However I also pointed out that producers can use other excuses to dismiss consideration of an emerging film maker in favor of more established film maker. It would be interesting to know if going through the trouble of creating a trailer in 3-D would open any doors for an audition.
  11. Baraka is an example of a great movie due to the fact that it was shot on 65mm film.
  12. I think it boils down to this. Even if you have a lot of talent, most of the time you will not be taken seriously unless you have the picture quality to showcase your talent. In the past no one would even look at your work unless it was shot on 35mm film. Now due to the fact that Epic films are being shot using digital cameras a film maker is almost guaranteed an audition when he presents his trailer to a producer for financial backing or the producer has to come up with another excuse to exclude the film maker. Right now a digital film maker can argue that the picture quality is greater than a conventional 35mm film production. 1. A digital 3-D production is already commanding higher ticket prices than a 2-D film production although film cameras can also be used for 3-D production.
  13. The day that film dies is the day when all film shooters strive for the video or reality look. We see this already happening because NFL films is now shooting 16mm film at 120 frames per second which may be a subconcious attempt to achieve the video look or at least an attempt to compete with video cameras.
  14. Chris Nolan does not count because he uses 65mm film. When one says that film is dead we are talking about the death or obsolescence of 35mm film. Using 65mm film future proofs a film production for a long time before it becomes obsolete.
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