Chris Dingley1

HaHa no, sorry about the poor phrasing. The bottles were a gutted kino kit(gotta love them).

thanks for your comments, as for the transfer i would go from the negative to up convert not the tape.,

Hey everyone, here are some stills from the first round of shoots of my new film "Faint by Numbers." Its s16mm shot on the SR2 With super speed lenses. the current images are from DVCAM tapes and we will be upgrading the tapes to most liely dvcpro50 for the offline then hd for the online(this should clean up some of the video noise caused by the DVCAM compression.) but for now let me know what you think. The bar shots and the last shot are 7219, the office is 7217. Feedback is always welcomed.

Hello everyone. I am curious as to what film fests are the best for there cinematography awards. I know alot have then but what are your favorites to enter and which are the most prestigious and perhaps ones that are underrated. thanks Chris Dingley

Hey, I ended up blacking out the windows and shooting tungsten, I corrected the florescence and it gave me a color temp of just above 3200, I'll let the lab handle the rest. thanks, -Chris-

I looked into the same thing, between those 2 I would go with the s4's, but to answer your question it will fit on an SR3, and you can fit it on an SR2 but you need to adjust eh viewfinder, and it becomes annoying to look through. edit: I remember one place telling me that the S4/I's will not work, but the origonal S4's will, the difference being the shutter mirror may hit the lense.

Hi, Tomorrow i am shooting an office scene with big windows(daytime). I plan on using the office florescence. i am shooting 7217 200t with an 85 filter. I have minus green from a tungsten shoot i went on but everything for this shoot will be balanced daylight. would i be better off using the -green and correcting the lights to tungsten then having the lab correct the tungsten out? or should i not correct at all and let the lab time it out? oh and if i get there and realize i don't have enough light i may use 7219 w/85 instead of the 17 stock.

cool thanks

really noone?

does anyone knwo if the cooke s4 lenses will work with an sr2 I know it will with the 3. it is a standard plmount. the problem i was told with the sr3 was with the mirror hiting the lense if you use the s4/i lenses but the the regualr s4's will work fine, but they were unsure about the SR2. the sad part is i asked booth cooke optics, and arricsc to no avail.

its a dram about a guy trying to get his life back on track. i prob wont be making 35mm print.

what hd cam.. well there are a few option my school has the sony ex3, or i would shoot with a varicam. i need to look more into these cooke s4s lenses i hear there amzing.

Hey all, I am getting ready to shoot my senior thesis film and I am in limbo when deciding a shotting format. There is so much to look into. I would love to shoot super 35 but its expensive. I found an arri 35bl for 400 a day that i can afford but is the camera good? and i have never shot super 35 before. with super 16 i like the look of certain stocks and i know the camera very well and i'm assuming i could throw some cooke s4s lenses on there and get a great image, but how does it look blown up? and HD is cheap maybe throw a red rock on there, di the crap out of it, and ill get a good image. but the thing that really sticks out in my mind is the future, can I shoot HD and expect producers to throw a S35mm camera t me and say go! any tips/ advice?

Hi, I am preparing to shoot my senior thesis project and i am considering shooting it Super 35 most liely with an arri camera. my problem is i know the SR2 and 3 extensively but I have never had hands on experience with 35. Is 35 mm something i can learn from a book? or should i put my money oin needing to hire outside help?

Thanks everyone. makes me feel alot better. the reason i really still wish i shot one was i have had colour problems with this lab before and I sent them the chart. -Chris Dingley-

I just got off a midnight to 6 am shoot, and we were supposed to shoot the color chart at the end of the roll and we all forgot due to exhaustion(considering we have all been up since early that mourning. the problem is we used tungsten lights and tungsten rated kino's but there are florescence there and we were going to have the lab time out the green spikes, is there a way to have them print for 3200 and take out the green without the color chart? what should i write on the report sheet? it is a kodak 7217 200 speed film.

Thanks for your input, i will just go ahead and shoot.

I am shooting with an arri sr 2 or 3 (super 16) with a fuji stock. but i heard you need to calibrate the camera to shoot with the fuji film. If i don't calibrate whats the worst thing that could happen to the film/ camera. thanks

Thanks for the suggestions.

Ok, I am shooting a super 16mm project. most likely on a 7218 film stock, although I will make my final decision after shoot tests. I am trying all the the colors to pop and I was told to over expose the the film by 1 stop and then tell the lab to not correct it. But then I read that your supposed to under expose by 1/3 of a stop. any suggestion? Also if there is a super 16 film stock that you know of that is better for vibrant colors that would also be helpful.

thanks, anyone else?

Today is the official release of the first short I DP'd called "Charcoal." check it out at myspace.com/lakesidepictures or www.myspace.com/anaphorafilms Thank You.

Hey, Today is the official release of the first short I DP'd called "Charcoal." check it out at myspace.com/lakesidepictures or www.myspace.com/anaphorafilms Thank You.

seems like a director that cant direct you is asking you to direct someone else based on there direction.... that can get you in alot of trouble just ask bret ratner in xmen 3

film all the way, but i know what you mean money is money. try this. shoot 24p with dvx 100b (thats the camera to buy) 35 mm Adaptor will help with the everything in focus problem of video. add a promist to soften the edges of video and know how to light well and youl get the best quality image you can from video. I actually read once that shooting in PAL looks more film like, check into that too,