Sam Wells

Hi John, after Kodak went with the Vision films I pushed EXR & 74/46 for daylight so I could actually get a real shadow B) -Sam

This goes to 22 -Nigel

I wonder if Arriscan to SR might be an acceptable 'economy' alternative --- ? I totally agree the front end machine is critical. -Sam

Hi Stephen, you asked for information not a guess ! But I would think some of the folks formerly with Optex as likely suspects ! Certainly have the requisite experience in this field..... -Sam

I would add Alan Splet's - and Ann Kroeber's - amazing sound design to these superlatives. What _I'd_ like to see, well hear is a DVD edition of Dune where all there work doesn't get buried under the score in the mix..... -Sam

All that said, the B&W sequences in this film were shot in S16 on Double-X, some exceptional work here by Raoul Germain: http://homepage.mac.com/mrraoul/films/ton.mov (I believe this was a 2K scan) -Sam

Wow is that ever true in the terms you put it in. If I were honest I'd say I can't reshoot anything. I can only do something better -- or worse ! -Sam

Double X always looked pretty flat to me pull processed. -Sam

Shoulda caught the typo, I guess I've deleted most VNF stock numbers from my personal memory bank, had to free up the space somehow <_< -Sam

Interesting idea, John ! (Be interesting to directly compare with Red actually. Do they have their Nikon mount available yet ?) -Sam

It's not a 'fixed ratio' in the sense that the difference between F stop and T stop will diminish as a lens is stopped down (less air to glass surface area being used to form the image) -Sam

Kodak 7229 is a negative stock and is 500 Tungsten not 160D. -Sam

The Dalsa Origin footage I saw projected at 4K, similar sized chip, I'd say it held up. The motion work I'm doing with the Nikon D3 - larger chip but similar pixel (photosite) count - is getting downsampled to 1920x1080 but that's 'cause I ain't got the computer horsepower to work in 4K - but I do hope to do a short test and see what happens --- I don't have a 4K projector at hand either, I'll have to find some co-conspirators --- -Sam

I'm sure the Canon MK III's are not using Foveon sensors. We'd sure know about it. I've seen some exceptionally nice images from the Foveon Sigmas, and some not-so-nice also. I _am_ curious about their forthcoming DP-1 "point & shoot" with RAW capability ---- Well it could be a way to play without big $ commitment... -Sam

Are you saying the Canon 5D does NOT use a Bayer stripe ? I think it does. -Sam

Thanks, Keith -- I've long since lost all my notes on this. Took another look at the Nikon D3 shots, I'm realizing it was a green wall that was reflecting all that yellow in AWB, and (caucasian) skintone went that way but the output itself was quite orange. -Sam

Now I haven't tried THAT on a digital shoot yet...... making a note here....... -Sam Chirp before you chimp ?

Well Max, I'd love to have a 24 fps version of my D3, IOW I'm inclined to agree........ That said I do tend to get a lemon yellow on Sodium vapor (or is the problem that Phil's looking at sodium vapour :unsure: ?) Haven't shot under the 'pinky' ones yet.... (which Rec 709 turn sickly, uh pardon the expression, red....) well I can turn it orange with WB in cam or in RAW conversion.... WB & sodium hardly know each other the way I see it and yellow is the spectrum of sodium..... I abandoned my once study of various sodium vapor light variations the grounds of wtf can I do about the damn things and in fact daylight color neg looks best to me, I don't think it's accurate tho.... That said I've gotten quite good skin tone from dodgy fluoros and with sodium in the background a look akin to Chris Doyle pushing Fuji 250 2 stops on "Fallen Angels" so if I *wanted* to go there B) I could.... -Sam

Hi Tom, LTNS - Congrats ! If you do a show at The County or something, let me know ! Hope you find a distributor too...... -Sam

Unless you have the buckle trip disabled, this should never happen. Some folks will switch it off if the camera will be subject to a bunch of vibration in the shot, and I've seen a couple with the buckle trip removed. -Sam

The Canon 5D is 4368 x 2912 so "4.3K" Bayer, no more no less "true" 4K than the Red, whatever else you might say. -Sam

Some of us on the NYC-Philly axis will never forget Luba Potamkin or Ben Krass <_< -Sam

There are some extreme problems with this transfer, you can't possibly judge your footage from this. How on earth did you shoot a feature and not catch this ??? -Sam

Marty Suslov of Empire Exposure Meter would make slides for any ASA / shutter speed you wanted; unfortunately Marty is long since retired - but I bet he made / had / sold many --- they must be "somewhere" ---- I know he was making custom slides as well as F stop scales for the Low light Candela so you could use them as direct reading meters also.... He would also make them for the Sekonic L38 & its successor... Spectra Cine Special, I don't know what to say -- I have a Combi II -- little fancier --- but after two rebuilds by Spectra (even the fearless Marty said "I'm not touching this one") it still only reads acurately on the middle scale - and it helps if it remains upright and probably oriented to magnetic North for all I know..... Strangely enough it's better with new bats than the mercury batteries it was designed for... Truth is my older - non-combo - digital Sekonics work much better ---- I do like the moving needle tho, it gives a "feel" for the light -- -Sam (now travelling in the brave new world of histograms)

I think there are "industrial" C mount video lenses that cover 1" --- I know we had a Hitachi 1" Vidicon camera used as video assist on a snorkel rig, it was C mount..... -Sam