Kenny N Suleimanagich

This is concert footage I shot on 7 year old cold-stored 7218 wide open on super speeds. HD telecine to boot. No special lighting was done.

I would do full lines for 1.66 and then dotted lines for 1.78 markings.

Kodak just updated the articles with a correction. It was 5203, not 45.

Was '45 the last EXR stock in production? That's a pretty large overlap into the Vision/V2 era.

Look at the Jon Fauer book on the Arricam. It's a great resource.

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.

Apparently some scenes of the new tent pole HBO series "Westworld" used 5245 in the pilot. I wonder what they rated at.

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.

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.

So will you be doing the "Fincher" style or true common top?

I bet if you rang up some camera houses they could tell you the accurate settings.

The issue is compression and data rates of 10-bit XAVC-I Slog3 into an SD card. For the FS5 10-bit and DCI 4K is available via paid upgrade for external recording but as Robin mentions it is indeed processing/signal compression/card write speeds. That's why the FS7s are XQD cards.

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

Here is that thread, with illustrations of the "Fincher Ground Glass"

http://www.cinematography.com/index.php?showtopic=66243

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)

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.

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.

"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.

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".

There is additional useful information on this in this thread. I believe the most common sound recording film is still Agfa ST8.D

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.

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.