Rajavel Olhiveeran

shot on Arri Alexa. Directed by my guru Rajiv Menon.

https://vimeo.com/43714732 Technical Specs: Stock - Kodak & Fuji & Passion :) Camera - Arri 435 (super 35) - 3 perf Ultra prime lens Digital Intermediate 2k scan ..compressed to 720 for upload

From KODAK Addressing the Rumors When a New York newspaper reported that Mark Twain had been lost at sea, he is said to have replied, "The reports of my death have been greatly exaggerated." We know the feeling. There has been much speculation about the fate of Kodak Motion Picture Film over the last few weeks. We at Kodak refuse to let the volatility of the market or the rumors distract us from our mission — to provide the highest-quality tools to tell your stories. We are still making film — billions of feet of it! Sure, digital technology has impacted how filmmakers approach their work. But Kodak is a company with a long and brilliant presence, all built on groundbreaking science and technology. We are committed to continuing to do so, even in today's landscape where film and digital coexist. Something else that seems to get lost in the hype: We are more than a film company; we are the innovators who understand image making more than anyone else. We possess critical expertise from our past, which we draw upon for our future. We have some of the brightest and most innovative researchers and scientists in the business working on our products — film and otherwise — to carry us into the future. For example, our laser projection technology was recently licensed by IMAX. Laser projection technology offers a multitude of benefits to the viewing audiences, and features that help bring your vision to the big screen in better ways. IMAX and Kodak understand the need for this innovation. We are delighted to be working with them to assist with the implementation of the technology into the IMAX product family. That's not all. We are leveraging Kodak technology and intellectual property to bring an innovative digital asset management solution to market. It's designed for content owners with assets of all formats created over the years. And we will soon be introducing a new film! A new member of the VISION3 family of color negative films will be added to your film choices. With the latest film technology in the can, you can keep rolling in the most challenging production situations — on set or on location — and maintain a high-resolution image through post and distribution. Furthermore, with film still maintaining its archival leadership role in preserving the memorable images of the past centuries, we continue research and development toward expanding our archival film products to create a platform of choices for a variety of needs. We'll have more news on these new offerings soon, so stay tuned! The bigger picture is: We have a great depth of experience and possibilities for turning 125-plus years of imaging technology and inventive product development into new solutions. Our KODAK DIGITAL ICE Technology in scanners is being used to restore some of the most memorable images from cinema and television history, and our subsidiaries continue to make inroads on preservation and restoration (FPC/Pro-Tek) and visual and physical effects (Cinesite). Our goal is to continue to show you that Kodak is the go-to resource for the best in image quality and workflow solutions that support your creative intentions — because we know you care. For a list of projects for which filmmakers are choosing KODAK Film, click here. We know we can help you accomplish your filmmaking dreams, so contact us. Our worldwide team of Kodak representatives and experts is at your service. Thank you. By Kim Snyder President of Kodak's Entertainment Imaging Division and Vice President of Eastman Kodak Company

India and China – two nations with vibrant indigenous film communities – represent two of Hollywood’s most dynamic and lucrative markets for potential future growth. And as the MPAA figures noted above suggest, Hollywood is enjoying success there, at least for now. What the future holds is far from clear. A 2009 PriceWaterhouseCoopers report estimated that India had 3,000 digital screens between UFO and Real Image, out of 10,000 cinemas, of which 900 were multiplexes. Other reports suggest the number of digital screens has risen to as many as 5,000, most of which are e-cinema. In India the most recent Harry Potter film was released on 450 screens, according to the report. E-cinema represents had tremendous upgrade for audiences in small rural “theatres” that in the past were worn out 35mm and 16mm prints projected onto sheets or painted walls. “While smaller US and European cinemas have spent recent years facing a crisis over what to do when the studios stop using 35mm prints, Indian cinemas have been making a rapid shift to [non-DCI] digital projection in a way that is sustainable, including three-yearly replacement of the equipment to allow them to keep up with technological advances,” says a knowledgeable observer. “In particular, rural Indian cinemas have seen 900 percent revenue increases from converting to digital.” Courtesy : http://www.digitalcinemareport.com/node/2794

Frames of Soul ! http://gu.com/p/32g9c

Intangibles.........SOUL. LIFE. FILM. http://gu.com/p/32hgx

I guess Kodak as a company is undergoing a tough time in the market. The company might rework its logistics and the business model and survive or even thrive but What happens if Kodak stops manufacturing Film for the Movies? its kind of scary to even think of it. Its really not about the opposing topic 'Movies going digital' and hence we all need to be prepared for going digital, this is just about the possibility of wee going without film suddenly. Is there anything like that which is gonna happen in the near future.is there any time frame for which the Film is gonna last in the kingdom of movie making. Do some senior members of this forum and futuristic thinkers have any definitive answer for this? This is a sad question but sincerely i want to be optimistic about this situation and hope for Film forever! Thanks all. regards.

Thanks All. Its absolutely Orgasmic to discuss with such great depth and i feel grateful to this forum and all the artists who has taken time to discuss in detail and the sustaining members who is making this possible. As i did the DI for the test footage of Kodak and Fuji more interesting things were visible. even as the negative was neutralised in basic terms (without touching the saturation/contrast/blk levels) the Fuji had enhanced colours and more generated skin tones. but even the fresh negative(fuji) without correction could see the image popping out in comparison to kodak. thats becos of the high contrast i guess and also realised that the highlights were burning a little more than kodak givg more separation of the foreground from the back ground image. I would love to post here the shots that had been taken for comparison. will do soon. but the midtones seem to have lesser detail in Fuji.....and becos of that contours of an object seem to lack the 3dim quality to it and reduces to a more flatten image...which inturn is creating the increased contrast levels (i think). for example....the flowy hair of a girl at a distance shows no dimension in Fuji and its jet black.....whereas Kodak shows greyer tones on hair (according to the way light takes on) and thereby shows dim and looks more natural. another incident where a grey granite stone looks grey on Kodak...whereas the stone looks a little cool on Fuji....and if on DI you drain the blue off the Fuji image to make the stone grey the dusky skin tone of the actor shows increased levels of redishness and that comes in the way of maintaing a normal skin tone. well....am working on more of the details and will post images of same soon. kindly consider my opinions as very basic as this is the first time am comparing the stocks extensively and am sure there are million other variables which i might have missed to consider.......its been a continuous learning process for me at every level.... thanks all....

thanks Robert!

Hi Adrian thats the absolute truth!!

Hi Ian Cooper, its the Vivid 250 D! thx

Hi creative artists Hv been using ultra primes for my earlier films and i felt this need to try Master prime for my nxt feature as he is considered the big boss. Is he really the big boss? How is he better than UP? In wat way? (other than high speed 1.4 aperture) Does its quality give a stunningly considerable diff on screen? Shudnt it considrg huge cost diff compared to other lens. Kindly give ur esteemed thoughts on it and share ur experinced incidents on the same. Ur thougjts will be treasured by me for sure. Thanks all

Hi artists! Just tested kodak and fuji for my upcomg feature. Tested 250D for both. Barring all the other details as shadow detail, black levels and other technicalities which only a technician/artist can figure out......the colors were just popping out of the screen on fuji film. Even a lay man could spot the contrastg diff in terms of colors...though the other intricate details like blk levls shadow detail grain contrast may affect him in a subliminal level. So kodak seems like a subliminal stock. My first feature had tested fuji and kodak which was 5 yrs bak and black hair was nver black on fuji it was blue hinted. But now my 6th feature aftr so many years the vivid stock seems to hv black as black. Have always been kodak loyal. Now might experiment with fuji. Wat do u kodak and fuji loyalties hav to say to that.... Goddd this Cinema even at this level also is so intriguing! Thanks artists. Great to be part of this forum !

Hi all creative artists! Am in the process of choosg between Lustre and baselight for my feature. Shootg film. 3 perf. Arri 435. Master prime. It would be great if any of u would give suggsns for my DI process! Lustre or Baselight. Why. Thanks a lot

Give it What it takes........

Ya Stephen u are right! i must have been out of my wits to mention that, as the Flex which i tested was the prototype......and not even in the market!

it was absolute wonder to see the latest Phantom Flex in action at 2400 fps! god the results were amazing. everything about it was fantastic. shutter angle options 1-360 iso at 1000 fps upto 2400 saving of the recorded image on cinemag called flash in few minutes transfering speed in twenty minutes image quality..... and i guess it was used in Inception if am not mistaken! stupendous visual storytelling!!

Thanks a lot Tom! wonderful to get some valuable feedback! i perfectly agree with u on the duration of the trailer...and agree with ur story telling withinin 60 seconds! i too have similar viewpoints...but i cant force it on the others on the team! am so happy u had things to say that i had it in mind! and well...that pic at the end is not me! (and i second ur thought on that too! :)) thanks. will be uploading a song a little later...kindly give ur feedback on that too Tom! cheers!

link to my trailer: http://www.vimeo.com/7205896 Hi all Kindly critique the trailer of my Tamil feature film 'Yean Ippadi Mayakkinai' (the title means 'why did u mesmerise like this') of genre 'Romantic thriller'. this is my fourth feature film (as DoP) slotted to release this December. entirely shot on Arri 435 super 35 format on Kodak Vision 3 stocks with Ultra Prime lens...and thereafter DI. what u view now is a 2K scan compressed to 720 for dvd ...and upload. Your feedback on the trailer as a whole (as an audience without getting into technical details).....and as a cinematographer/filmmaker/or any other technician (can be highly critical..positive or negative)....is most welcome. Every word of yours is so critical because every word u have to say about this work will help me evolve into a better Cinematographer / Filmmaker. thanks. Cheers! link to my trailer: http://www.vimeo.com/7205896 Rajavel

had been waiting for this cinema for so long and then i watched it finally on big screen. . . i believe for this genre and the period portrayed...'Film' would have done better justice to the film..than digital.... its just not the format but the way it has been shot...the style of shooting also was not as convincing as the other films from similar genre...like 'road to perdition'..... ...interesting thing which i just got to realise is ....in the world of cinema genre....apart from the story and scripting..... we have all been acclamatized to the style of visual storytelling of those done for those specific genres....so that 'look'.. also unconsciously becomes part of that 'genre'.......and as a result even that becomes an expectation out of that genre... ok assuming the creators of this film didnt want that...and they actually wanted to break away from that (which they have)..... it just Failed to better the 'Emotional response to the Visual Look'.......which the earlier films had done in the same genre with 'film'... this is more than just the format of the camera....it also how the shots have been taken. (this emotional response to the visual look could be subliminal for the audience...they might not be able to put their finger on it) to be technically speaking.....those jittery movememnts during the pan or subject movement......and bleeding edges.......and loss of detail at the highlights....generallly took away the punch from the images...thereby reducing (reducing..) the impact of the film.. ... ofcourse on the whole i loved the movie... it was entertaining...good but not great!! but as a cinematographer my thirst was not quenched!!!

had been waiting for this cinema for so long and then i watched it finally on big screen. . . i believe for this genre and the period portrayed...'Film' would have done better justice to the film..than digital.... its just not the format but the way it has been shot...the style of shooting also was not as convincing as the other films from similar genre...like 'road to perdition'..... ...interesting thing which i just got to realise is ....in the world of cinema genre....apart from the story and scripting..... we have all been acclamatized to the style of visual storytelling of those done for those specific genres....so that 'look'.. also unconsciously becomes part of that 'genre'.......and as a result even that becomes an expectation out of that genre... ok assuming the creators of this film didnt want that...and they actually wanted to break away from that (which they have)..... it just failed to better the 'Emotional response to the Visual Look'.......which the earlier films had done in the same genre with 'film'... this is more than just the format of the camera....it also how the shots have been taken. (this emotional response to the visual look could be subliminal for the audience...they might not be able to put their finger on it) to be technically speaking.....those jittery movememnts during the pan or subject movement......and bleeding edges.......and loss of detail at the highlights....generallly took away the punch from the images...thereby reducing (reducing..) the impact of the film.. ... ofcourse on the whole i loved the movie... but as a cinematographer my thirst was not quenched!!!

well guys.... u should read the thread back what i was trying to tell Mr.Tony....as in he could have got access to the best lab in industry in India.....am sure it wouldnt have been a terrible processing experience...i wasnt trying to compare it with any of the best in the world. ofcourse i understand the present scenario of America being one of the best in the world filmmaking, atleast technically (though they might not be the best in the world in creating soulful cinema).... i wasnt trying to defend anything in the patriotic manner....ofcourse given a budget i would get my film processed in the best of the labs in the world......wouldnt be doing it in India....and as Karl said may be in Technicolor.... am here in this forum as a Cinematographer a technician , born in a different land with great passion for filmmaking.........but to see crude attitude like John Carreon's ..sucks...i dont want to stoop to such low levels arguing with such hollow attitude..... well coming back to my chain of thought...i really wish the best of labs in India gets better ......having Japanese and American labs as their aspiration....