Ryan McMackin

No dallies, would be the short answer. Would you be willing to elaborate on, or, care to speculate what these, "extreme," problems might be?..

I just completed production on my first feature as DP and all is looking good thus far with the exception of a noticeable red vignetting in the transfered footage. The problem is persistent throughout the 24,000+ feet of film that we shot, though, it varies in severity and, at times, is not apparent. The project was shot on an Aaton LTR54 w/ a set of Optar Illumina lenses. The telecine was done on a Rank Cintel Turbo II. Originally, I thought this might just be a lens issue as we did not extensively test the lens package prior to production, however, I'm not confident in my own analysis and that this might be a problem that can be remedied. I would certainly appreciate any other advice or opinions. I've attached a still that illustrates the problem pretty well, and, since attachment space is so limited, here's a link to a Flickr page with many more stills from the transferred material... More Photos on Flickr Thanks, ryan

alright, i'll give that a try and get myself a larger monitor! thanks michael...

My set-up: HVX200, P+S Mini35, Zeiss Superspeeds, Century Swing/Tilt When shooting at 48fps and 60fps the occillation of the ground glass becomes apparent in the image. The problem seems more exagerated with longer focal legnths. Has anyone else experienced this problem? I'll be shooting with this same package next week and curious to know if there is any way to avoid this issue. Any thoughts, help or otherwise would be greatly appreciated... -ryan

Anyone have experience or advice for shooting a 24fps 8mm projection!? I'll be shooting 16mm @ 24fps and concerned that I'll have sync issues with the projector. Any thoughts or guidance would be much appreciated! _ryan

Anthony, What were your results? I will be shooting some tests this coming week cross processing 7285 and would love any info you, or anyone else, might have to offer... _ryan

I ordered four 100' rolls of Kodak 7285 Ektachrome 100d from Kodak on Wednesday for 2nd Day Air delivery thru DHL. Unfortunately, DHL failed to deliver on time and now I'm without the film I need with a shoot planned for Monday (01/01/07)!? Does anyone in the Seattle area have some Kodak Ektachrome 100D that they would sell to me or trade me for the stock I'll be recieving on the 3rd? Or, know where in this area I can buy that stock tomorrow? Please let me know ASAP! Thanks, Ryan.

a couple of weeks ago i compared sided-by-side fuji's 10x10 cine-style zoom, a fuji 17x7.8 cine zoom, a pro35 adapter with a set of zeiss superspeeds, and a fuji eng zoom. there was no percievable difference in dof between the 10x10, the 17x7.8, and the eng lens. the pro35 adapter, however, provided a very shallow dof in comparison. the 10x10 is huge and pretty expensive; the cost of renting the pro35 + lenses was slightly less expensive. personally, i liked the look of the pro35 the best. if anything the 'cine-style' zooms rendered a sharper image though, these were on a varicam and cinealta respectively, while the pro35 and eng lens were on an sdx900. if a shallow depth of field is really what your looking for you should consider the pro35 if you haven't already... _ryan

Anyone know or want to speculate what frame rate/s Mr. Doyle used for the slow motion sequencesin this film? Here is an example: http://youtube.com/watch?v=z8OGH_7oChk To me it looks like it's 60FPS or so, though, I don't yet have an eye for this... _ryan

Since were talking about Christopher Doyle, does anyone know why two DPs are credited for "In the Mood for Love"!? It's one of my favorite films as far as the photography is concerned and I'd really like to know what each of the cinematographers, Christopher Doyle or Pin Bing Lee contibuted to this picture?

Last night I shot a registration test with an SR3. This was the first time I've done this and the first time I've encountered the need to rewind a magazine. Unable to find any specific instructions on how to do this I just went for it and I encountered problems. On the first attempt (at rewinding) I put the mag in the changing tent, released the film from the guides in the magazine throat, opened the feed side and slowly rotated the spool clock-wise pulling the film back into that side of the magazine. The loop size never changed and after awhile the film came taught. Assuming I had successfully rewound all of the exposed film I pulled the magazine out of the tent and opened the take-up side to make sure all was good. To my disappointment there was still 20+ feet of film on the core and it seemed as though the film had flipped on the core! As if I had threaded the film the wrong way (counter clock-wise) onto the core. I have no idea how this could happen, keep in mind I never opened that side of the magazine while it was in the tent. My second attempt involved removing the core and exposed film from the take-up side whilst rewinding?that was a disaster. On my third attempt, I was successful. I just kept my hand on the exposed film in the take up side the entire time. Though, the same "flip" occured near the end of the process!? If anyone knows of an easier/better way to do this, I would love to know. Also, please tell me if there is something I was doing wrong or missing here, I am still perplexed by the films apparent change of direction! Thanks.

Thanks for the thought y'all! I'll probably tinker with a little of "all of the above" to come to some conclusions for myself. I think for contrast ratios I'll probably shoot on neg. and look at the negative itself to see when I loose detail...

this doesn't contribute much to this thread, however, it is apocolyto related and good for a laugh... watch this trailer (the "teaser" version) http://www.apple.com/trailers/touchstone/apocalypto/, when you see the cu of a screaming monkey, approx. 2/3 of the way thru the clip, step back frame by frame and you'll get a bearded suprise! you'll know it when you see it... -ryan

Fair question. I was vague because I have multiple "excersises" in mind. I'm not out to compare mediums (digital vs. film) in this instance I only want to experiment with light. For example, walking a single source 360° around a subject taking photos at 15° intervals and repeating this with a variety of instruments. I would also like to compare contrast ratios, and color; the list goes on. My question is really what would be the best format for evaluation? Should I shoot on 35mm neg. and make prints, shoot transperancy film to look at w/ a projector/light table or shoud I shoot digitaly and examine files on a computer? Hope that helps... -Ryan

$1500?really! Guess, I'll be calling the rental houses first to see if they got what I need. Thank you both, very helpful. -Ryan