Adrian Correia

Please contact me at my email AdrianCorreiaDP@gmail.com

I own a set of super baltars although my 20mm is a Kowa....the 35mm is softer and I usually do not shoot it wide open - but look of the lenses are wonderul

Grain is definitely prevalent - more so than our tests of 5219 pushed two stop. Still we were shooting a horror film so I wanted more grain. Regardless, it was still very pleasing to me even at two stops pushed. Higher key scenes the grain wasn't even that bad tell you the truth. Colors are definitely more vibrant than 5219. Sorry, can't post stills...it is being released in October though! If I get the OK I will post.

Just shot my first 35mm feature on this stock - pushed two stops rated at 1200.....what would you like to know?

Thank you John for taking the time to answer. Also, apologies for the "boys" remark....no offense intended to anyone, regardless of gender.

Hey guys...some confusion between myself and post has me a little flustered. Ever think about something for too long so you begin to forget anything you thought you knew? That's where I am. So, shooting on the HDX900 tomorrow...interview subject...producer wants 720P 59.94 (29.97 for broadcast) - but 24P filmlook. So I should just shoot 24P mode 720P/59.94 and the tape will record 29.97 and then everything is about the import, right....please bear in mind that I am not post on this. Please help me clear my brain boys....

I was looking for a good all-purpose zoom for production...I may not be purchasing the zoom from Red (18-50 or 50-150) and was looking for something to replace those in my package..... I already own a set of K35s... In terms of size they are comparable. Is there another zoom solution you would recommend?

I am in the process of purchasing a zoom lens for use with my camera and was wondering between these two and if anyone could weigh in on them. A Cooke T2.5 18-90 Zoom (Technovision) in immaculate shape for 7,250.00 or a Cooke T3 18-100 (in excellent shape) for 5,000.00 I already have one person's opinion who I respect....anyone else care to chime in on these and which one would be the better purchase?

rob - I will keep my eyes peeled for some of the K35s, but it looks like Dan might be able to help you.

Hey Max! How have you been? No, they are Arri Standard mount....but they come with an adapter...i was wondering how difficult they would be to change to PL mount. My K35s were a bitch and a half to remount...

I may possibly buy a set of these lenses and was wondering if anyone could provide some feedback in regards to these. They are from an old friend, and in excellent shape and for 3000.00 it seems like a really good deal....any thoughts on this glass?

you should also look for the AC article on The Thin Red Line where Toll talks quite a bit on his use of negative fill...good stuff!

Most of my shoots involve smaller units with 1.2K and 2.5K HMIs and 2K tungstens usually being the biggest units. My question is...how do you know what larger units to use if you don't really have the opportunity to use them? I mean...how do you discern wheather a 5K would be enough or you really need something bigger. There is a feature I am shooting in April where this could be a concern....I know I could rely on my gaffer but you know the deal...always looking to better myself. Thanks guys!

Stuart - this is very, very good work. I echo Chayse's statements aout the jungle scenes...is there any type of color correction on the lighting or just to the image itself? I love the diffusion on the CUs too, just takes the edge off.

Don't underestimate Spielberg's knowledge and respect for cinematic history. He will dealing with the legacy of three of his most loved films so I expect him to shoot film and possibly anamorphic...with the advent of the DI who knows. I for one hope he utilizes the visual template established in the previous films and maybe tries to craft something that complements the series.