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Kenny N Suleimanagich

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Everything posted by Kenny N Suleimanagich

  1. You can do it with rewinds in a darkroom.
  2. The Brian De Palma film "Dressed to Kill" has one of the main characters (who is established as a tinkerer) set up a timelapse trigger camera for surveillance using Super 8. When he goes to pick it up he pays $4. That was 1980.
  3. Another thing to note is that all of these lenses were designed with slide rules and analog techniques – not computers – so those imperfections are unique. I know that Panavision offers to "detune" their lenses for some productions and Hawk offers their Vintage line. Maybe this will be similar: a "detuned" version of something like a Mini S4
  4. You should test it on a digital camera with a waveform monitor
  5. It might be similar to the way modern pedestrian moviegoers might know "Technicolor" as a certain look, when Technicolor the company today has zero photochemical operation let alone the long-defunct 3-strip and IB process. A "pivot" that capitalizes on brand cachet and history is a great business move for them. Just unfortunate to the roots of the format and brand.
  6. NFL Films did this a lot. Abakus makes a B4-S16 PL adapter that enlarges the image circle optically. There are some great B4 lenses. You should be sure to get ones designed for HD. Here is a Canon ENG B4 zoom used on an ARRI SR3
  7. If you can get them still, look into 800' loads. Aaton XTR and Arri SR3 had mags for them.
  8. I've scanned 4K and 2K on a Lasergraphics Director and compared them side by side on a large screen with a color calibrated projector. It looks basically the same - you would be hard pressed to find the difference. As has been mentioned here before, the main benefit is you future-proof the delivery and viewing. For example, TV through the 90s was 35mm or 16mm for SD delivery not bad, simply what was needed. We now consider even a DVD to be pretty low in resolution, and so many restorations are finishing in 4K. Yes, there is more detail and definition, but it really comes down to how you're delivering and plan to deliver in the foreseeable future.
  9. It's useful for insurance and tax purposes when you own equipment to have an LLC.
  10. Whoa... are these technical manuals? I would pay for a PDF. Does the IVS one cover the 416 at all?
  11. I saw a show print of "Eyes Wide Shut" last year, and it looked great. Kubrick personally oversaw the color timing throughout the production. It's certainly a grainy picture, partially due to the 5298 EXR 500T stock being pushed one stop throughout. But the showprint was excellent and crisp. Far better than the print of "Barry Lyndon" I've seen, granted its two generations removed and more than two decades older. I would love to see the photochemically restored print of "Barry Lyndon".
  12. I believe you can adapt Nikon to Aaton mount
  13. I definitely support anyone doing whatever their artistic intent might be. Many of my favorite works of filmmaking (studio, experimental, documentary) use expressive and creative techniques. I guess as a matter of personal taste, it's nice to see something like "A Prophet" look more "accurate" while remaining very dramatically lot at certain points; on the same note, I just personally felt "The Night Of" was an example of shooting style getting a little distracting. Just my personal taste.
  14. I do agree that The Night Of does employ a conscious style that is at least consistent, but I guess I just found it distracting. Compare that to American Horror Story, with their split diopters and crazy camera moves, macro shots, etc. – I couldn't imagine AHS any other way! I guess what bothered me about The Night Of is that it returns to the trope of prisons and police precincts being lit by cold, moody lighting. There is a tendency to go overboard with that. I'm not saying everything has to be done in the matter of A Prophet, but as a matter of personal taste it takes me out of the narrative.
  15. I actually felt that "A Prophet" was shot really well, in the sense that it conveys elegantly a gritty bleakness of the world of the French prison. I've been watching "The Night of" which is so distractingly stylized that it takes me out of the story. I mentally compare it to "A Prophet" and lament that the prison has moody lighting with almost no motivated sources. I also feel that there have been well done instances of naturalism – "Renoir" (2013) for example, conveyed Provence and the Renoir estate with the same impressionistic sensibilities of the title character. This discussion of naturalistic/minimal lighting reminds me why I think "Carol" was so well received. Lachman stuck to his style of expressive flourishes to propel the narrative, and audiences remembered that a mannerist approach to lighting was exciting and should be revisited.
  16. The reviews are pretty head-to-head. The A7Sii has slightly more rolling shutter (12% more in tests), but is considered the go-to for documentary low light work. It is the B/C camera on most of the doc shoots I am doing these days. You can get an A7S first generation for way less than the ii, at the expense of no internal sensor stabilization and no internal UHD. Of course, you can get a clean UHD 4:2:2 8-bit image via HDMI to an external recorder if you needed it.
  17. A friend of mine who is borderline obsessed with this stuff, told me they re-installed it for the "Batman vs. Superman" release. I hope they did (nobody could confirm over the phone). Otherwise the next-closest IMAX screen is in Philadelphia.
  18. What bells and whistles are you referring to? What exactly do you need to do with the camera?
  19. It had a great look. "Foxcatcher" was one of the last big shows to use it.
  20. Very interesting Adam that you have seen another 4K DCP. I know that there has been a DCP floating around but figured it was probably just a scan of an IP or something with maybe some dust cleanup. How did it look? The 35mm release print I saw at Metrograph was a bit beat up, but retained a lot of the color characteristics and tonality in the blacks. The trouble is that it's a mixed bag. Some of these old prints were in hot environments or didn't have air circulation in storage.
  21. You might want to look into the A7R or Rii, solely for the ability to print large.
  22. Not sure where this info is from, but there's a huge range of the A7 series that many are using in filmmaking this days. The A7S and A7Sii are popular for their low-light abilities, but are plagued by rolling shutter.
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