Sidat de Silva

I've shot some tests on the D21 with HMIs and the results were very good. However, this week I'll be shooting under tungsten and would like the widest latitude. (The level of illumination is not a problem as we'll be in a large studio.) With other video sensors I've found I get better results by colour correcting with a filter rather than electronic white balancing. It is probably because of individual colour channels clipping when uncorrected. Any thoughts? Also, I haven't been able to find an exact colour temperature rating of the D21's sensor. Sid.

I'm looking at shooting with the Sony DSR-450WSP in 25p mode, in interior sets with controlled lighting. I've shot 50i with this camera many times before, but for news and doco and didn't change any look settings. I've had fantastic results with the DVW-970P (DigiBeta) shooting 25p with settings adjusted for the most organic look. I used the Canon CineZoom lenses and dialed sharpening down to almost off. I set gamma, black level, and knee settings for low-contrast results as well. My plan is to try doing the same with the 450, including using an HD lens (if not a CineZoom, an ENG HD zoom). I've read about the electronic soft focus feature -- I can't remember an equivalent on the 970. Any experience with this? How did you use it with the sharpening/detail enhancement setting? On another note... anyone willing to hire out a DSR-450 in Sydney? Most of the gear houses seem to have theirs out on jobs! Sid.

Popcorn Taxi (the organisers of the Sydney and Melbourne screenings) have confirmed that it's a 2K DCI file that's being projected by the Sony 4K projector. They tried to get a 4K from Warner Bros., to no avail. So, I guess Mr Mullen won't be on the first flight to Sydney to catch this screening. :P

Thanks for the swift reply! I'm aware of these mags, and have read them with great interest. My problem is if I need to look up a specific production (say, because I was struck by some part of its photography), I was wondering if there's some sort of 'reference book' that'll have a list.

My parents' generation got very excited when a 70mm print, complete with multi-channel (analogue) surround sound, came to town. Now we kids of the digital generation drop our QVGA video iPods and run to the cinema for something called 4K DCI. Sydney - 11 & 12 Nov 2007 http://www.popcorntaxi.com.au/event.php?event_id=555 Melbourne - 15 Nov 2007 http://www.popcorntaxi.com.au/event.php?event_id=556 (Do they need a few days to take the 'print' down to Melbourne? I guess the projector can't be beamed down via broadband!) I'll be at the Australian premiere on 11 Nov. Don't forget to wear your Cinematography.com shirt. (Er... presuming there is one.) Hmmm... this restoration project is as complex as the film itself: http://digitalcontentproducer.com/mil/feat...eo_real_deal_2/ Sid.

Obviously, doing one's own tests are the best way to learn. The next best, and much cheaper, option is watching others' work and trying to figure out what was done. And one can't do that figuring out without knowing exactly which format (or formats) the production was shot on. And this means more detail than just "35mm" or "HD". Which stock? Which camera? Which lenses? IMDb can be very hit-and-miss in this regard. I'm currently trying to find out info about the NBC series "Heroes". Everyone here agrees it's very well shot. Yes, but on what!?!? :) So, if anyone knows a Web site that has good reference info like this, let me know. K'noath, I'm even willing to spare a few bob to join one. Sid.