J Costantini

Thanks, David. So I will never get the same quality shooting super35 that I would get shooting anamorphic, is that it? Is there a process thru which I can increse the quality of my super35 material in order to get a 2.40:1 theatrical print? People in Brazil are shooting tons of super35 now. It looks fine when projected and i´ve seen lots of stuff in 2.40:1 (filmed super35). How do they do that? Are they accepting this `grain´ quality you told me about or do they solve this somehow? what do you think? Thanks again.

Hi. I have a general idea of what super 35mm is but still have lots of doubts. Can you guys explain me how it works from the beginning till the end (including anamorphization, etc). I know that when you shoot super 35 you have to shoot full frame... are there any precations that should be taken because of this? How do you know your safaty margin? Where will the frame be cropped? Can i just mask the video assit monitor 2.40:1 ? Will I have this frame on the viewfinder? plus: what are the advantages and disadvantages of shooting with super35 lenses instead of the anamorphic ones? Will I get the exact same picture quality in both formats? Thanks a lot.

It was posted in High Definition. 2k quality and then transfered to film again. I live in Brazil, I had the opportunity to watch the movie in the theatres. after the film went thru the process David Mullen here described I can tell you: you could not tell the difference even on the 35mm projection. the picture was supposed to be that dirty with lots of soft and reflected lighting and overexposed highlights. good movie, by the way. I dont agree with some things regarding the social aspects on the film but that´s a whole other story. I haven´t seen ´Master and Commander...´ and I know the photography must be great (i heard Russel Boyd hardly ever used the DI)... But I´m sure Cezar Charlone (the dp of City of God) deserved the academy award too. so, what do you think about the movie? i would like to know what you think about the movie as foreigners watching our reality. thanks

Thanks everybody who posted. Thanks Wendell_Greene for all the general advice :) no, I´m not filming in Los Angeles. It would be nice too but for now I have the beautiful beaches of Rio de Janeiro, Brazil. I invite you all to come here and see them! :D Thanks

Hi what precautions to take regarding the sound and sync on a music video shot with a minidv AG-DVX100? Any advice is welcome. Thanks.

hi i would like to hear a little from you about shooting music videos. what precautions to take? what is the first thing that you think about when you know that you´ll be shooting a music video? thanks a lot

hi, everybody I´ve heard about the Maine workshops and the USC summer program. do you know about any other good workshops in the US? thanks

hey bob, do you have a website?

hi i own a camera like yours. would like to give you some opinions. no matter what adapter you get or accessories you buy, test all of them trying to simulate situations as on the script. rent a matte box/filter holder and a bunch of filters for one day and test them all. it´s minidv: it´s cheap and you dont have to wait for processing. watch them on a monitor and see what you like. now regarding transfer quality, i would go for the wide angle / telephoto adapters rather than the anamorphic converter. for what i´ve heard, that doesnt make a real big difference and with the telephoto / wide adapters, you have many more possibilities regarding lens perpective and distortion. PLUS: the telephoto adapter shallows your depth of field, which is always good to achieve the film look. the idea of having a gaffer that owns lights is the best. when renting light equipment, try to get lights that will be used in many scenes. want to know more about filters and their effects, visit: http://www.tiffen.com/Header_page_tiffen_filters.htm good luck to us all

Hi. Do you guys really recommend people to move from the first DVX100 to the DVX100A model? Why should someone do that? Is it really worth it? What are the basic and main differences between the two models? Thanks a lot.

So, David, if i put a tape on the LCD to mask to 1.85:1 ratio and shoot it this way, will I be OK? I can shoot if full frame 4:3, I dont need to st the camera to shoot 16x9, right? if so, will the 1.85:1 frame that I saw on the LCD be exactly the same on the film copy? Have you ever watched a transfer from the Panasonic dvx100? How is it like? thanks a lot

Ola, Tiago. Mais um brasileiro por aqui. Do Rio de Janeiro. Tambem estou começando em cinematografia, ja fiz algumas assistencias e estou frequentemente estudando o assunto. com livros e american cinematographer (alias, como eh cara por aqui!) vamos entrar em contato mais direto, meu email é juliocc@uninet.com.br acho que tenho algumas ideias pra vc. valeu. for those who dont speak Portuguese, I just said that I´m Brazilian too and would like to get in touch directly with Thiago to discuss some ideas. also said that i read the american cinematographer magazine and that it´s very expensive here!! about 12 dollars!!

Hi. I´m really interested in the Maine summer workshops of cinematography and would like to hear a little from you about them. Have you ever heard about them? Ever been there or knows someone who has? Please, post honest and personal opinions about the teachers, the equipments, the city of Rockport, etc. Everything that surrounds the workshops. Thanks a lot.

Hi. I would like to know where I can find a conversion table to understand the relationship between 16 and 35mm lenses and video lenses. For example, I know how a 50 will look in 35mm and that it would be a 25 in 16mm. But what lens to choose if i shoot 1/3 video to achieve the 50mm look in the 35mm film format? i just dont seem to understand the numbers of the video lenses. For example in the AG-DVX100: the zoom lens starts at 4.5. What would that be in 35 and 16mm film formats? Thanks everybody, I´m fond of this forum it really helps and inspires all of us.

Hi. I would like to know where I can find a conversion table to understand the relationship between 16 and 35mm lenses and video lenses. For example, I know how a 50 will look in 35mm and that it would be a 25 in 16mm. But what lens to choose if i shoot 1/3 video to achieve the 50mm look in the 35mm film format? i just dont seem to understand the numbers of the video lenses. For example in the AG-DVX100: the zoom lens starts at 4.5. What would that be in 35 and 16mm film formats? Thanks everybody, I´m fond of this forum it really helps and inspires all of us.

i know it's a silly topic, but i lost my ag-dvx100's lens cap and need a new one. do you know about any store that sells it? thanks

I shot a short on 24P with a panasonic ag-dvx100 (not the dvx100A) and need to transfer the material to 16mm b&w. the material is in color now. Any suggestions on stocks to choose and how to treat the image before transfering? I may have the chance to go through a davinci 2k station before transfering. thanks

Hi. I've just shot a short on 24P ag-dvx100 (not the dvx100A) using cine-like gamma and matrix. The color material is beautiful but now we wish to do two things with it: 1) finish the movie in black and white. 2) have it transfered to 16mm. yes, we did think about it before and shot creating more contrast areas than usual color photography. I may have the possibility of going thru a davinci 2k finishing station. By now it's still being edited on fcp3. My questions are: How should I treat the images before the transfer? increase contrast, decrease it, change gamma values? what stock would you choose to transfer and/or print it? Why? Do you know any places in the US that offer cheap 16mm transfers? Thanks a lot, everybody. Feel free to suggest anything else.