Kenny N Suleimanagich
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Everything posted by Kenny N Suleimanagich
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BOLEX conversion to super16
Kenny N Suleimanagich replied to Arthur Sanchez's topic in Camera Operating & Gear
I would do full lines for 1.66 and then dotted lines for 1.78 markings. -
Best F-Stops for Expired Film
Kenny N Suleimanagich replied to Nate K's topic in Film Stocks & Processing
Kodak just updated the articles with a correction. It was 5203, not 45. -
Best F-Stops for Expired Film
Kenny N Suleimanagich replied to Nate K's topic in Film Stocks & Processing
Was '45 the last EXR stock in production? That's a pretty large overlap into the Vision/V2 era. -
Various S16 Lenses PL Mount
Kenny N Suleimanagich replied to Stephen Marshall's topic in Cine Marketplace
Hi there, can you please email me kennysule@gmail.com Thank you -
I've seen Kubrick's actual IIC on display at the Museum of the Moving Image. They were Cookes in the turret. Though I do not remember the focal lengths.
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Best F-Stops for Expired Film
Kenny N Suleimanagich replied to Nate K's topic in Film Stocks & Processing
Apparently some scenes of the new tent pole HBO series "Westworld" used 5245 in the pilot. I wonder what they rated at. -
British Actors Taking American Roles?
Kenny N Suleimanagich replied to Max Field's topic in Off Topic
It's been happening since the dawn of Hollywood. Nothing new. -
They've been working on it for a while. It will be in Astoria, and should be opening later this year. I believe it's the same team that ran Film Lab NY. Ask Jack at Metro has has all of the details.
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Common top frame 16-9 (1-1.85) 1-2.35 crop
Kenny N Suleimanagich replied to Robin R Probyn's topic in General Discussion
You can easily set custom frame lines on an Odyssey recorder and it will tell you what aspect ratio you have as well. Though this is less practical for the more run and gun scenarios, would be great for narrative or studio. -
Common top frame 16-9 (1-1.85) 1-2.35 crop
Kenny N Suleimanagich replied to Robin R Probyn's topic in General Discussion
So will you be doing the "Fincher" style or true common top? -
Common top frame 16-9 (1-1.85) 1-2.35 crop
Kenny N Suleimanagich replied to Robin R Probyn's topic in General Discussion
I bet if you rang up some camera houses they could tell you the accurate settings. -
Common top frame 16-9 (1-1.85) 1-2.35 crop
Kenny N Suleimanagich replied to Robin R Probyn's topic in General Discussion
Can't you just mark the ground glass ;) A bit shocking that Sony doesn't have common top line options...I think you've mentioned you're on F55? Is it not practical to use a monitor like the Odyssey? I think those can be set any which way re: framelines -
Common top frame 16-9 (1-1.85) 1-2.35 crop
Kenny N Suleimanagich replied to Robin R Probyn's topic in General Discussion
Here is that thread, with illustrations of the "Fincher Ground Glass" http://www.cinematography.com/index.php?showtopic=66243 -
Dr. Strangelove
Kenny N Suleimanagich replied to Dan Goulder's topic in On Screen / Reviews & Observations
I was in the second projection of "Inherent Vice" on the day it opened in New York. The first three reels had a deep scratch running down the right side of it. I asked for my money back, and by the next day a new print was running. I've also been in quite a few digital presentations in which: 1. Subtitles did not play 2. The video went black with sound still running 3. subtitles lost sync I still absolutely prefer a theater experience, but I'm also very much in the "these things happen" camp. For all of the ink spilled over "Hateful Eight" release, the showing I saw was flawless. -
I suppose the only downside would be having one lens with "correct" focus direction and several with "opposite" (Nikon)
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I frequently use the 20mm f/3.5 from the late 60s/early 70s and it's a great rectilinear lens with not a ton of distortion. I picked mine up for $2-300ish if I recall correctly, in near-mint condition.
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Suicide Squad on 16mm
Kenny N Suleimanagich replied to Max Field's topic in On Screen / Reviews & Observations
I agree with Tyler on this one... 50D can definitely look very crisp, but I'd take it one step further and say that so too can 250D or 200T with the right exposure, lenses, and scanning. Scanners and compression make a huge difference. -
Spectre mixing film and digital
Kenny N Suleimanagich replied to Alex Birrell's topic in In Production / Behind the Scenes
"Cafe Society" was one of the first times I felt I was watching something that looked way too clean and sharp – and was jarred by the diffusion in the close ups of Kristen Stewart. Maybe it has to do with Storaro's harder lighting style that brought out these aspects of the F65 imager (many contemporary cinematographers tend towards soft light, which might give digital footage a gentler feel?). This is pure conjecture, but I personally found "Cafe Society" to be shockingly crisp, if really nicely lit. -
Suicide Squad on 16mm
Kenny N Suleimanagich replied to Max Field's topic in On Screen / Reviews & Observations
I remember reading the same about "The Fighter" - production barred 16mm, so they shot 2-perf. But we can also look to major releases of the past few years that went entirely with it: "Hurt Locker", "Black Swan", "The Wrestler", "Carol". -
IN to Release Print Question
Kenny N Suleimanagich replied to Frank Chang's topic in Film Stocks & Processing
There is additional useful information on this in this thread. I believe the most common sound recording film is still Agfa ST8.D -
IN to Release Print Question
Kenny N Suleimanagich replied to Frank Chang's topic in Film Stocks & Processing
I should have articulated that better I didn't mean to say that IP has sound on it as well (besides as Dirk mentions this archival style) rather the sound is printed after picture lock, before color timing etc, to a separate negative but at the same stage as IP. -
IN to Release Print Question
Kenny N Suleimanagich replied to Frank Chang's topic in Film Stocks & Processing
The sound is printed onto the film during the IP stage usually before the picture is printed from the OCN. Can be optical or Dolby/DTS/SDDS.