Allen Achterberg

well, the speed of the lens has something to do with choice...and nobody likes a breathing lens which is another good reason to go primes.

to be fair, 28 days later was shot on the same format, BUT the DP of 28days later knew whathe waas doing and he did a good job. there really wasnt a DP on open water....just some guy trying to make a movie putting the vx model on soccer dad mode and as a result you have a horrible image.

well you have the resolution difference...but I'd recommend getting an XL2 if you want minidv (sounds like thats what you want) with that, you will have damn good resolution, native 16:9, and 24p not to mention you wont have to shoot through 2 set of glass. just my 2 cents

no, It looked great, wouldnt of known it came from a pd150

<_< i dont buy it.

if I had money I'd buy it. my buddy just spent 23k on one. its rad.

thanks glenn, I agree too it makes more sense. it kind of freaked me out when two student DP's told me this because I started thinking of your above technique and also ramping iris while ramping filmspeed. god I love these forums. you guys are great. Allen Achterberg,

David, big help. thanks

dude, the reserve is not yet met. give it a few days

well I was recently informed that changing your stop throught a scene is not generally a good thing. Something I never payed attention to but usually did shoot at the same stop (usually wide open) and never noticed anything with color. well I was informed by a student DP that your stop has a lot to do with the color rendition on the film. I guess what I'd really like to know is why is this? I am looking for a scientific explanation for this, it would help me a lot. any thoughts? any reasons? anything you got I'd like. thanks, Allen Achterberg

God I hope nothing like this happens with my panastar tomarrow. groundglass.....ehhh

well thanks for the advice gentleman. I realy appreciate it. But after I talked to my camera owner i decided to just go to a rental house. he told me that his zoom and his 50mm prime were messed up and went to the shop, and wont be fixed in time which leaves me with a 75mm prime for the entire shoot, so I think of renting some...more money. then he tells me that it doesnt exactly shoot at 24, more like 22 and mentioned the motor sounds wild then that was it for me. I am just going to rent. Birns has got a 2C for like 120? thats less than what I'm paying him so I was going to have to rent some more lenses anyway so I'll get my Zeiss primes. this is my first embarkment so I dont want to take too many chances...I'll just spend some money. thanks again, Allen Achterberg

sounds like you are new to this, Magic Bullet isnt that great, It can leave artifacts and has really long render times. get it graded by someone who knows what they are doing. unless you think you will be doing this a lot, learn to use your tools to their best advantage. and to the guy talking about the shiny part of the camera..the lens shouldnt be shiny, it should be dark unless you like flare...

the thing is I'm renting from some young kid fresh out of filmschool, he says it's well maintained but I personally dont know if it is or not, this has become a trust issue.

I would guess its just for projection, but specificity is definately lacking. I'd recommend getting more than one stock for the ext. or int.

Alicia....wow.

yeah, i hear its a loud mofo. but I dont care. just want steadyness

Oh, they exist, believe you me.

true, personally I never wanted film i've shot to resemble video though, better shadow detail? isnt video High contrast? I am sure a low contrast filmstock would beat video in shadow detail...but hey, I could be COMPLETELY wrong. and one thing I like about film is how each film has different grain structure...sometimes I really like the grain, others I dont.

I am about to do my first 35mm short on an Arri 2B, I've never seen this camera and dont know much about it. I know it has a viriable motor like the Arri S, my question is how steady is the image from this camera? anything I should know about it? I will be shooting 79', im just curious to hear about other's experiences with this camera. thanks, Allen Achterberg

dude I'd seriousely think about shooting some shorts on film before doing a feature...experience is key especially when you are talking about a feature on film, a lot of money. but that's just me, my cojonas probly not as big as yours.

nope, sure haven't. you should also be more specific with the format of the film, you will notice a BIG difference comparing the minidv 24p stuff to 35mm with a minidv master...the motion and the 24P thing would match up with 35mm shot at 24 pretty well, but the minidv image will have a life of its own, or no life...? same with 16mm, film has charactoristics that video has yet to match, even on some of the newer rigs like HDcams or even the Dalsa (although I give the Dalsa credit, that is getting close) but you're talking about a consumer camcorder, I think an audience will see a difference right away but wont be able to put their finger on it.

Super16 has got a little more image to it. The only real difference I know of is the aspect ratio, and that Super16 is commonly used for DI and cut in high-def which is becoming very economical and a favorite for tv.

just gel the windows, its not that hard or expensive. and if you are shooting on video you just might want to use some ND on the window too due to videos poor lattitude. convert the daylight coming in to 3200k and cut off some of that light. or do as David said.

The 85 is primarily used to correct the color of tungsten balanced film (3200K) when shooting in daylight (5600K) I like Schneider...