Ben Kufrin

Thanks David, Great to be here and very good to hear from you as well. Things here are swell. Let's catch up offline! BEN KUFRIN Director of Photography iatse local 600 Venice, CA

I too have used the 80C/D filters under tungsten because I didn't like the noise I saw when I balanced the camera to 3200K and that I believe was build 17. I definitely do not like sacrificing the stop in tungsten when using the 80 correction filters but it rendered a cleaner "negative". Here's a posting by Leandro Marini illustrating some of my results when we graded the raw files at Local Hero Post on the Scratch after I exposed under tungsten with 80C filtration. Hope this helps. http://localheropost.squarespace.com/journ...ies-part-2.html BEN KUFRIN Director of Photography iatse local 600 Venice, CA

Bruce, I apologize for this late response but work has kept me consumed for the moment. Thank you for your interest and recent posting regarding the 2-perf presentation I participated in with Kodak at Cine Gear. I just wanted to make a point or two of clarification that would be good to note as well as attaching a link from the latest July '09 issue of KODAK InCamera to further inform our work on the feature I shot and Lee Madsen directed, "Curve of Earth." http://motion.kodak.com/US/en/motion/Publi...urveOfEarth.htm Jim Cressanthis' who also participated in the 2-perf panel had his own sample footage that he showed completely independepent from ours. Jim's footage expertly compared 2 to 3 perf in a single comprehensive test for workflow in 1:78 for television. Our test was to show a 2-perf 2:40 workflow for feature films through digital projection and subsequent DI anamorphic film out- right from our color timed HDCAM SR master. What Lee and I presented were in fact two completed scenes that we chose from ,” Curve of Earth" (incidentally, the movie is currently finishing up in post). First, we chose to show two completed scenes that we pulled from the movie, (shot 2-perf, 2:40, on 5218 and 5205 VISION 2), color timed on a DaVinci at Deluxe in HDCAM SR 4:4:4 and subsequently filmed out to an anamorphic 35mm print. What you saw from my presentation was first, the two scenes digitally projected in HDCAM SR, then secondly a film projection of the same two scenes from the filmed-out full 2:40 anamorphic print. The print especially, as you noted looked quite good... better than the HDCAM SR. Though Jim Cressanthis and I both intended for our HDCAM SR tests to be projected in 4:4:4 on a 2K projector, the projection facility only provided 4:2:2 on an older HD projector (not 2K). Certainly the slightly diminished quality of the digital projection for my purposes anyway, only served to further enhance how good the anamorphic print looked against a the digital projection . Thank you again for joining the discussion at Cine Gear and for your posting. Best, Ben Kufrin Director of Photography