Matthew Novak

Hi, I'm a film student at NYU and I'm writing a paper on digital and film capture technologies. Bellow I?ve listed a few questions on topics my paper will cover. A response to any question would be greatly appreciated. Thanks Matt I'm looking to hear what people think the effects of students being taught solely on video cameras will be on these future DPs (good and bad). Will this have an effect on the art of cinematography down the line? Do you think RED will have an affect on Panavision and Arri?s digital motion picture cameras? Do you find more productions are going to digital for cost reasons or as an aesthetic choice? What are the major problems with the digital workflow? Has the improvement in film stocks and the design of new S16 cameras and lenses caused a renaissance in the small film format? Has S16 become a challenger to 2/3 inch cameras or even full frame sensors? [/sub]

Does anyone know if I plug in a 1.2k into a non crystal sync generator will it flicker? The ballasts I have are flicker free. Thanks.

Hi, my name is Matt Novak and I am a film student at NYU. I was wondering if any production was looking for camera interns for the fall. If so please email me at man290@nyu.edu. Thank you Matt

Okay so I?m shooting a short student film this summer and am now thinking about using a verity of fuji stocks. The film will be shot on super 16 and has many different locations both indoors and out. I was thinking about using F-64D, Eterna 250D, and maybe Eterna 250T through out the film. The 64D would be used for all exterior shots and the 250D for the interiors with large windows. The 250T I might use in one location where I can gel the windows which aren't bringing in a lot of light. The film is around 20 - 25 minutes long. Is this film too short to be mixing so many stocks? Thanks Matt

Hey, so I'm shooting a student film this month and was planning on shooting Fuji's Eterna 250D (16mm). After doing a quick exterior test of the stock my eye favored the older F-64D film. The stock seemed to have more punch in the colors and wasn't as flat as the 250D. Has anyone else experienced this? The film takes place for the most part outdoors but there are some interiors with lots of windows. Because of this I planned on sticking with the 64D throughout the shoot. I may have to push the film one or two stocks in one location and was wondering if anyone knew how this film handles being pushed. Also do you guys think Eterna 250D should be used instead of pushing F-64D? Final question I actually found the 64D to have more latitude than the Eterna 250D. Has anyone else experienced this or was this a fluke. Thanks Matt

We are going to be doing a supervised transfer. Does anyone have a preference with kodak vs fuji in 250D? Or Kodak 7201 50d pushed a stop?

I am shooting a student thesis film this summer and I am looking for a stock or filtration that will give me a flat, de-saturated look. I am shooting super 16 and want to shoot a slower stock, nothing above 250. The film is a mocumentery and Spinal Tap is a huge influence on the look for this project. Its mostly day exterior, so I want to shoot on a daylight balanced stock. I was thinking about shooting Fuji?s Reala 500D and pulling it one or two stops. Has anyone tried this? Any suggestions would be a tremendous help. Thanks Matt