David Auner aac

Also bizarrely, having reduced the size of the image somehow makes the shot appear a tad darker too....

That's the way it goes. The larger an image is the lighter it appears to our eyes. That's why you often print larger prints darker than smaller ones...

Cheers, Dave

hi :lol:

Servas!

Its an issue in that when I have to proof read my own typing I am often left with around two typos per paragraph ...

Hi Chris,

an old typesetter's trick: read your text backwards. Start at the end of each paragraph. Good way to find typos. And then read it the normal way to fix the grammar if need be.

Hope that helps, Dave

Hey Steve!

 

I was going to mention the monitor that David posted: Panasonic BT-LH80WU.

 

It has a red peaking mode which makes it pretty east to pull off of in a pinch. I think Chater might have one.

IIRC you can even choose the color for peaking! I also liked the 1:1 zoom mode and the ability to select one of nine regions like a tic tac toe board for zoom in. Built in WFM isn't bad either.

Cheers, Dave

Bounce on this project isn't really an option just in case you were thinking.

Hi Ross,

why can't you bounce? Are you moving with the talent? Have someone walk with a folding reflector.

Cheers, Dave

Is there a difference?

 

Owen Automatic 1:2.8 135mm Front element is 55mm.

 

I have a canon DSLR and would like to mount this lens to it. I don't know which mount to buy.

Hi Jamie,

that's an old Nikon, pre-AI quite possibly. You can see the rabbit ears for the meter coupling ridge present on old Nikon F bodies. Interesting lens though. Why not buy a Nikkor? The 135/2.8 can be had for a song these days. But it's not that good a lens. Might as well go for 135/2!

Cheers, Dave

So, that's the question. Which is the best?

Hi Steve,

I haven't shot cameras of that class yet, but for other HD work (HPX-3000 et al) I liked this one quite a lot: Panasonic BT-LH80WU.

Cheers, Dave

Wow, Max. This is awesome! I'm sure the movie will be even better than the trailer!

Cheers, Dave

In the late 1960's - early '70's, NPR's were delivered from the factory with one C mount and one CA-1 mount. CA-1 was kinda loose, lenses would fall out at times. Far more lenses were available in Arri mount, so a lot of them were swapped from CA-1 to Arri.

Hm, according to what my tech told me beneath that CA mount there is a C mount as well. But maybe that wasn't true for all NPRs....

Cheers, Dave

very good price, Shame it isn't one with a C mount as well, i'm not sure how many lenses there are in Ca mount that cover s16?

 

thsi must be quite an early S16 conversion to have to CA mounts???? anyone have any idea?

IIRC all NPRs are C mount. Even the CA mount (or int he case of mine, Arri Bayo) were attached on top of that. So if you strip the Ca mount you should have one with two C mounts, unless it was modified before...

Cheers, Dave

Even the old Steadicam IIIs can change from NTSC to PAL, although you do need a screw driver to adjust the vertical hold.

Yeah. In B&W that should be the only difference there is IIRC.

Cheers, Dave

can someone post a link to a Woodylight. I haven't used or seen them yet. Unless I know them by a different name. Google search shows nothing.

Hi Tim,

I think there are pics in Box' Set Lighting Technician in case you have a copy on hand...

Cheers, Dave

How do you achieve this photochemically like they did in the 'old days'?

Is it by changing printer lights or by changing print stock?

I'd say it could be done by a dissolve from the color print to a B&W one... Not sure though.

Cheers, Dave

Measuring the diagonal of the frame is only a convention, yes it does give a set figure for any format but that is open to interpretation. Part of the reason this can only ever be a generalisation is that it is based on the viewing distance of the final image.

Yes, quite true. It also changes over the years. In the past the majority of lenses used was of longer focal lengths than today. Of course this is also influenced by the availability of shorter lenses.

Cheers, Dave

I suspect the main problem that most people don't like reading sub titles. It's a lot easier to read them in the cinema than on traditional TV screens. perhaps with the modern, larger screens people may be more prepared to give them a go. However. there will always be good percentage of a potential audience who have reading issues, so any TV network that relies on advertising can't afford to lose these viewers.

Well, what about synchronization? Works rather well over here. Still, I prefer to watch movies in their original languages if I understand at least a bit.

Cheers, Dave

The shot of the ground shaking during an explosion seemed to have that purplish-blue tinge around the edge detail of the shadows, also making it appear quite soft. Noticed the same in the other shot of the bullet shell hitting the floor, only it wasn't nearly as bad.

Hi Jonathan,

did you see a purple edge only? No corresponding yellow edge not he opposite side of the detail? And did occur on edges with large differences in brightness? If it was blue only and on highlight edges only it could have been purple fringing, a type of CA known as axial chromatic aberration. Wiki on purple fringing. This stuff drove me crazy when I shot with DSLR with CCDs. It is very much better with CMOS chips. Read the wiki entry to learn why people think so.

Cheers, Dave

I do know the difference in angle of view but it is of no concern when purchasing lenses for multiple formats. Mainly I'm just sick of people being misinformed by advertisers of consumer DSLRs, where I think the whole crop factor fear comes from.

Second that. There's so much bullsh*it info about lenses out there. Glass is such an important topic in cinematography/photography that it deserves being a stickler for it.

Regards, Dave

We're 2 weeks away from shooting.. what do you all think I should do? Respectfully state that without production insurance/permits that I won't in good conscience do the shoot?

Yep, that's what I would do. Or they change the circumstances of the shoot. Better than to have legal trouble and damaged or lost personal gear. Saying NO is what saves your rear end at times!

Cheers, Dave

You might try that Magic Chrome Brush you can find at Auto part stores, my Dad swears by it with his British Cars.

Is that stuff the same as Neverdull?

Regards, Dave

...there is no such thing as '1:85' aspect ratio in film. See any basic cinematography textbook ever published.

I guess that's what is called a typo. David of course meant 1.85:1, 1.85 in short!

Cheers, Dave

Hi abhijit,

please change your name to first and last name as per forum rules. It's been a while since I shot on one of these. But I seem to remember that it was somewhere around 320-500 ISO. But that could have been the 570WSP which is a little faster still.

Regards, Dave

Yep. You can always crop, but yes. I was thinking of the new Arri compact primes that cover 24x36mm. Don't think there's much else out there that will cover this.

What about 65mm glass? Would that be too heavy? What is normally used to shoot Vista after all?

Cheers, Dave

Oy, sorry.... Perhaps we've discovered the actors' definition of "way too soft".... ;-)

"Oh no, ma'am, you're not old! But we won't see any wrinkles. I swear!"

Cheers, David

Never had so many Bolexes reunited at the same place and at the same time, so I seized the opportunity to take this picture for posterity.

 

I'm still trying to post a bigger picture (2486x1498) but I can't figure out how. Help anyone? Thanks.

But it's not the exodus of Bolex kind, is it?

Send to picture to some image service (or to me) and have it uploaded, if it is larger than what this site allows.

Cheers, Dave

Hi Jean Lous,

oh the envy! :D How many do you have? What's the oldest one?

Cheers, Dave