James Compton

Has anyone shot any tests rolls of this new film stock, yet?

http://www.fujifilm.com/products/motion_picture/information/1101_01.html

http://www.fujifilm.com/products/motion_picture/lineup/eterna_vivid250d/

Because this is a daylight balance film, I wonder if it has slightly more contrast than the other two FUJI VIVID filmstocks.

Fantastic! What a good laugh. That really made my day.

I have a Canon 814XLS. I have always wondered if a Century Optics or Optex anamorphic lens Adapter would work on a Super-8 camera. I believe I have seen the question posed before but there never seems to be an answer.

 

I have no interest in buying a Kowa lens. Anyone know the answer?

The Super 8 film gate has a 1:1.33 aspect ratio. If you place the Century or Optex 16x9 anamorphic adapter infront of the lens the aspect ratio becomes 1:1.78 (16x9). Now, if you have the gate modified to Super Duper 8 or Max 8 , and then apply the Optex adapter - THE ASPECT RATIO WILL BE CLOSER TO 2:35 ( 2X).

Hello i'm a photographer but I've just made my first suer 8 video. I haven't made a film before but I love films. Any advice or criticism would be wonderful.

 

Good job. Looks good for a first Super 8 roll. Keep up the good work.

Greg,

I could spot the DSLR footage from last night's episode. The car chase scene had a POV shot through the windsheild

of the villian. I notice HD-like vertical lens flares and the 'GAMMA' of the image looked different.

Benjamin,

You can keep using Lightroom for color correcting your Canon 5D footage. Use Quicktime to convert the video files to an image sequence. Once you are in Lightroom, once in the DEVELOP module - select - MATCH TOTAL EXPOSURES to adjust a group of images as one file. See here : http://bit.ly/9eQHQl .

Since when? Maybe I'm missing something, but I don't remember that.

Since they entered the alternate universe last season. CONTINUITY..That's all I'm saying.

Greg,

One MAJOR mistake that I saw at least 5 times in last night's episode is TREES and GREENERY in the frame while the story

is set in the alternate universe - where all plant life has died off. Please mention this to the director of each episode.

It will help to sell the story if they pay attention to small details like that. The show looks great! Keep up the good

work.

I've had the privilege of shooting FRINGE this fall. Episodes 2,4,6 and 8. I've been alternating with Tom Yatsko who has been with the show since the beginning.

He does a wonderful job in my opinion and its been a pleasure and challenge to step into such a show that is very much up and running and finding its own visually.

We still shoot film, one of the few.

If anyone has specific questions about the cinematography I'd be happy to share from my experience so far.

 

regards,

Greg

First of all, thanks. Thank you for taking the time to share your experiences on FRINGE. Now, that LOST is off the air, its the only TV that I watch avidly.

James

Great movie. The ASC article mentioned only 2 SHOTS that the Phantom was used on. I could spot it a mile off. The movie is filled with tons of beautiful 35mm scope and 65mm shots. Yet, the van falling off the bridge is one shot that had mad video noise. The second shot was the same scene but from the van interior. Right as the van begins falling backwards, I was looking at Jo Gordon-Levitt's arm. There is a purple greenish fringing on his right hand. An artifact that is native to the Phantom at high speeds.

I thought the story was great. The scene on the hotel window ledge between Dicaprio and

Cotillard was intense. I enjoyed the mountain fortress scene, as well.

Nice work. I reminds me of the movie "Dreamscape". Thanks for going the extra mile.

finaly I have put together what I need to shoot anamorphic with the KINOR 35H.

The camera seems to work fine, but although I like the sound of the camera, it seems to me hardly possible to shoot sound with it (even outdoors).

I will have to build a very efficient barney for the camera if I want avoid troubles with the sound guy.

Once I get the test developed I will post the footage on vimeo.

 

 

daniel

Daniel,

The camera may be louder than normal because it needs grease and oil. Have you had your camera serviced by a professional technician?

The only show in NY still being shot on 35 is 30 Rock I believe.

Mmmm...No, that's wrong. 'FRINGE' shoots in Queens on a regular basis. 'How To Make It In America' is also 35mm and shot in NYC. There are new shows still coming down the pipline that are scheduled to be shot on film. Have alot of shows switched? Yes. Will they all? Doubt it.

These guys are the West Coast equivilent of Rich kalinsky's www.raw-stock.com :

http://www.reelgoodfilm.com

They are great and have THE BEST prices on short ends - hands down.

Hi,

 

 

 

Any tips for other ways to downres. a 4K DPX file?

 

 

#2: My second questions is what software, or workflow, would suit me best for my conform (be it 4K or 2K). Would going through an EDL process with Color be good or would Gluetools through FCP media manager do the job better? Any other tips or help would be appreciated in regards to the conform process.

 

Thanks for the help!

Using GlueTools with FCP would work fine. You can use Autodesk Combustion to downconvert from 4k to 2k and even 1080 HD if you like. BTW, even with a Fiber Channel RAID that can sustain 600MB/ second, you will not

have normal 24fps playback onscreen. Using The Canvas/Viewer set to 50% on a 2K file should get you smooth playback. MAKE SURE QUICKTIME IS SET TO 10-bit, NOT 8-bit. What type of LUT (look up table) are you using?

By beautiful image, I meant very grainy, with sharp edges. The lighting is great too d helped a lot to contribute to the atmosphere of the film.

The filmstock was KODAK. Cameras by ARRI. I'll see if I can locate the link to the info.

Hi,

I'll shoot a short film in anamorphic B&W and I would like to see some features that were shot in this format ( or S35 / 2.35). I'd like to see how they deal with 2.35 ratio and black and white in terms of composition and lighting...

Thanks !

The most recent film (2008) that comes to mind is "A Perfect Place", shot by Hiro Narita.

It was shot on KODAK 5222 Double-X, with 40mm and 50mm Panavision Primo Anamorphic Lenses.

Rich Kalinsky (recans@aol.com ) used to sell ALOT of recans and short ends of both KODAK and FUJI film. Last week he started working at FUJI as a motion picture sales rep. . Contact him through

the email I posted above and he can help you out.

Thanks. I have seen some nice 35mm telecined footage of the vivid but have not heard much if anything about how it performs on a print. I have heard that the blacks look milky in 16mm. The tests fuji has posted look great but digitized footage on youtube does not tell you much about what the image will look like projected. I think the stock is designed for a DI and not a contact print. Do you have any frame grabs that illustrate your frustration with the stock?

The movie " Broken Embraces" used FUJI VIVID 160 for the Morroco scenes. That film is in theaters

now. Unfortunately, they used a DI on the whole film.

Yes. I'll take one of those Crystal Cameflex motors.

Do you still offer the 1414,1416 and 1418 upgrades for the Konvas 17EP motor?

Xax,

Nice. I especially like the backlit fishtank shot. Where and when can we see the entire film?

This was one entertaining film. Many of the scenes still resonate in thoughts, now. The first jam session between Zhou Yu and Kongming- where Yu gives his pledge to fight through music. Seeing the warrior scholar aspect of those characters was very cool. Guan Yu was the man! I like how John Woo intermingled elements from the Art Of War through the characters and story.

The one time the Digital Intermediate became ugly, was when a green cast bled into skintones in midday desert scene. I'm almost certain it was 5205 and not a Fuji stock. The pyrotechnics were very good, and CG flames had layers of movement and shape. HATCH did a fair job on the digital matte paintings-except for the final shot with dual rainbows over the mountains. That one matte looked too fake. I very much wish the film had been shot anamorphic or at least a 4K DI. Oh well, I still got my money's worth.

The ILM modelshop is now a separate company called Kerner Optical http://www.kerner.com/

Will,

Fantastic. Thanks!!!

Even if Pacific Title is gone, and you really really were to want optical titles for your own personal project (which is a real stretch, even if you are as big a purist as I am), I'm sure others still offer the service.

 

I was fascinated to find, about a year ago, about the company that basically continues all the model services of LucasFilm Limited's former model shop.

 

 

This stuff is still out there, for an affordable price. Be happy you don't have to dig people up from the dead or do it yourself!

Karl, please elaborate. I am directing an action feature this spring and I'll need both models and opticals. PM me if discretion is key. Thanks.