Mackay Valentine

Hi All I'm preparing to shoot a 35mm short in a couple of months, and I'm just about to begin testing. The majority of the film takes place in a number of small pharmacies, all of which are locations, and like all pharmacies they all are lit with rows of flourescent fixtures. They also all seem to vary in color temperature, with some of the bulbs warmer or cooler than others. Now ultimatley, I plan for the look of the film to progess from a warm-soft white to an unattractive contrasty green. I know there are many ways to go about controlling color and contrast, and I dont know where to begin with this dilemna. Should I correct the color of my own lights, or the house flourescents? Also, do I have to worry about flickering? Whats the best way to go about doing this on a budget? Anyones advice would be greatly appreciated. Thanks Mackay

When scanning into DI, do you scan a negative or a positive?

Whats an average hourly rate for an average HD telecine for super16?

How much does a 400' roll of 7218 cost if bought directly from kodak? thanks mike

Hi, I recently was given 7000+ feet of Kodak 5218 short-ends that have been in a friend of mine?s closet for over a year. The closet is relatively cool year-round, probably never reaching above 70º, but I?ve heard that film stocks should be refriderated if kept for long periods of time. Will not refridgerating this stock have any adverse effects? Or will they be okay?

Just recently I caught a showing of Baraka in 70mm. I had seen the film dozens of tims on DVD, but the 70mm print was unbelieveable, the details and colors were almost hyper-realistic, every frame being a masterpiece. Its a shame that this format isnt used as often as it should be. Now I'm a huge fan of cinematography in modern cinema, but after seeing the 70mm print, I believe Ron Fricke's "Baraka" to be the pinnacle of modern motion picture photography, does anyone agree?

Does anyone know where the term "pulling" focus came from?

I've been using a Canon XH-A1 for a while now, and I go with an ballpark ASA around 320. This is from shooting a properly exposed gray card, and comparing a light meter reading to the camera internal exposure meter. I've heard this is very similar with most other DV/HDV Camera, at least the Canon ones.

hi all, I'm a cinematography student about to shoot a short 16mm film with Kodak 5218. Originally I had planned to shoot the short with 5217, but unfortuanltey I wasn't able to get it in time. Now I have no choice but to shoot with the 5218, which I'm afraid will be too grainy. I've heard that film stocks can be rated at different ISOs, though I'm not sure how to go about doing this, or what the results will be. I'd love to get a sharper image with the 5218, and any advice on how to achive this would be much appreciated

hi all, I'm a cinematography student about to shoot a short 16mm film with Kodak 5218. Originally I had planned to shoot the short with 5217, but unfortuanltey I wasn't able to get it in time. Now I have no choice but to shoot with the 5218, which I'm afraid will be too grainy. I've heard that film stocks can be rated at different ISOs, though I'm not sure how to go about doing this, or what the results will be. I'd love to get a sharper image with the 5218, and any advice on how to achive this would be much appreciated

hey everyone, I'm preparing to rig a lightweight suction car mount for the hood and side. The mount is supporting a Canon Xh A1, which the mount has no problem holding up. This being my first car rig, I'm curious as to the best way to secure and strap down the camera? just in case. thanks