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James Compton

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James Compton last won the day on January 30 2015

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About James Compton

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    Cinematographer
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    ATL, LA CA, NYC

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  1. No. I am not using the terms hard and soft in relation to shadow patterns. Characteristics like falloff and it's behavior upon striking a surface are part of what I'm referring to.
  2. No pseudo science, here. I am speaking from an artistic perspective. I am referring to light absent of color. Firelight - soft Incandescent - soft Fluorescent - crisp Quartz halogen - crisp Metal Halide - crisp High Pressure Sodium - soft LED - crisp, Sharp I have seen every permutation of LED technology and the light always appears thin and sickly. Now, throw color into the mix and it still looks thin. I can quickly spot a scene shot with RGB LED's versus tungsten units with gels. My eyes can perceive the defecits in the aforementioned technologies. TEXTURE is the word to describe them. Not a fan of LED's. I simply will not use them for photography. It makes it easier for all departments when shooting with a digital format. You don't have to like it or agree with me. That's just me.😉
  3. Nah. Normally, I wouldn't take a stranger's word as truth without proof. Then the fella proceeded to show me photos of his home workshop where he built some of those fixtures, including a photo of him and Deakins together in front of the finished fixtures. It is not entirely impossible. Go figure. TEXTURE...yeah, I'll continue to use that descriptor. Quality of Light does not work for me in this instance. My eyes can clearly see the differences in light, diffused or otherwise. TEXTURE is simply the word that fits that vector of my perception. Phil and David are two deeply insightful industry professionals, whose posts enlightened many post members. This time, I respectfully disagree on the aforementioned topics. Cheers.
  4. A few years ago, I worked at an electrical supply house in Atlanta. I sold bulbs and industrial fixtures to big budget studio productions. I had conversations with DP's, gaffers, key grips, set dec and makeup on a daily basis. They all said the same thing: we want tungsten bulbs. The best boy on many Roger Deakins projects spoke about making fixtures that utilize small quartz halogen bulbs, because the TEXTURE of light is more pleasing than LED.
  5. 1) Start with the 16mm projector foley see below: 2) Convert that video to audio 3) Bring that sound file into a DAW (digital audio workstation) and loop the file for 10 minutes. 4) Import that audio file into your video editing program.
  6. One KINOR 35CII 500ft 150m 35mm magazine $160 USD. Shipping not included.Worldwide shipping available. The magazine has not been serviced since purchase 6 months ago. My 35H camera only uses short throat magazines. This is the long throat receiver variety. It will not work on short throat camera/magazine receiver cameras. Some 35H cameras have both short or long throat receivers. See the pictures for reference.
  7. Yes, that makes sense. My original point was about Hong Kong martial arts movies being shot with anamorphic lenses, and not Techniscope.
  8. Thanks for the clarification Dom. Man, Robin..you are really hard-headed. I figured you'd learn a thing or two hanging with Batman all those years. :P Check out this quote from the article. "Joining the Hong Kong-based production late in prep, Hubbs was asked to shoot the picture in anamorphic widescreen. Unimpressed with the optics available from the studio camera department, he tracked down a set of Panavision lenses at a local HK rental house." It makes sense that he used a lightweight camera to photograph one of the most physically gifted martial artists that ever lived. In a sense, it's a Jeet Kun Do style that fits a movie starring the man that spear headed that actual martial arts concept. Throw out all that weighs you down. All that is not necessary. Flow with the moment. Just like you can with an ARRI 2C. Just sayin'. :ph34r:
  9. Sure. It's a 2C with a Panavision mount. In the print edition of the July 2013 American Cinematographer, there are photos of a 2C with a 50mm C Series anamorphic lens. There are also several scenes in the movie where the oval anamophic bokeh is visible. The movie was shot MOS, like most Hong Kong movies of the time. Read the article.
  10. Actually, no. 'Enter The Dragon'(Golden Harvest/Warner Bros.) was shot 4perf Panavision anamorphic. Mostly all of the Shaw Bros. films (36th Chamber of the Shaolin, Five Deadly Venoms, Five Element Ninjas, etc.) were all shot 4perf anamorphic. https://ascmag.com/articles/ac-gallery-enter-the-dragon
  11. Kodak 50D for exteriors and 500T for interiors. Underexpose the 50D by 1 stop in camera. Expose the 500T normally. Push each film stock 1 stop in the lab. Make a print on FUJI print stock. Watch the end result and enjoy.
  12. Incredible! Thanks for sharing, Dom!
  13. @ Greg Agreed. @ Dom Thanks for that link. I found it quite useful.
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