Josh Holland

I was wondering if there are prime Lenses available for this camera's mount? Are there adapters on the market that allow video/ cine type primes. I don't want to use the redrock or still lens adapters. -Thanks

I understand that this type of flare would be created by anamorphic lenses, but this was a totally different experince. The oval flares strobed in timed intervals towards the camera ending in the same position on the frame. I hope I'm explaining this correctly, if not watch the movie because it's excellent. I understand how flares are created, but I still don't understand how to control them in order to get a perfect strobing pattern??

Yeah Jonathan. you are right. It did mention that Storraro Designed the type of lights. But looking at them, there doesn't seem anything special to them other than they are wired in series of four. The article indicates that there are so "unique" that they had to be flown in from Rome. Are the lights sold by Iride any different than buying ACL and mounting them in a PAR64 housing??

I was watching The Prestige the other day on DVD and about 20 minutes into the movie I noticed this interesting lens flare. It was a strobing oval coming from a stage light. It's the scene where Jackman and Bail are on stage together for the first time starting their magic careers. What really caught my attention was that it was oval shaped and that it was strobing towards the camera with a rapid pulse. How did Pfister accomplish this?

I was reading an older issue of AC and in it they had an article on the movie Tideland. The DP used aircraft landing lights adapted for motion picture use. The lights were Concords and Jumbos made by Iride in Rome, Italy. I've never heard of these lights and tried finding out more about them. Why are they only available in Europe? Are there comparable US companies that manufacture this type of light for film use? Is there any tech spec info on these lights? -Thanks

I have read this phrase a few times on this site and I wanted to understand what it means. Does it involve hard light and saturation? I don't know what the benefits of this means to a project. Are most movie negatives less dense?

My question is about good books that discuss lighting setups for common interior and exterior scenes. Most books that I've read talk about three point lighting or classic movie scenes. I'm looking for more updated references for recent movies that go into depth on lighting. I've read Harry Box's book, but that is more of a technical manuel than movie scene reference.

Hey all, I was wondering if anyone could recommend some books or resources that discuss film processing and techniques? I want to learn more about silver retention, adding a slight fog to a neg, or bleach bypass and much more. I've orded the book Image Control: Motion Picture And Video Filter Lab Techniques hoping that it will answer a lot of my questions; however, are there any other books that discuss the process and artistic reasons for choosing a certain method. Does Kodak or Fuji distribute any reference guides? -Gracias

Hey, Dennis thanks for the detailed reply, but I think that you might be missing the scope of this project. The funding for this project is not my money. So buying equipment is not an option. All of the people working on this project are industry professionals working in LA who have come together and pooled our resources. We have got as many discounts as we can from sound, location, G/E and catering. Cast, I think, is working on a SAG ultra low budget agreement. Not sure though. The 16mm camera package would be rented through the 1st AC father who is a DP. The HVX package would be rented through the Gaffer's friend who is a camera op. Both people quoted us the same rate (well within $100) for camera, tripod, monitor, follow focus, etc... So the deciding factor is the cost of the format to shoot. I think that since this is a short that it lends itself to film. For a 10min short I was figuring 4 - 400Ft rolls. Since that is @44min it should be more than enough. The majority of the people in production are lobbying for video. Me and my 1st want to shoot film. Both of us have worked together on two S16mm direct to DVD features. This project is only intended for festivals and a QT version for the web. I'M just trying to hammer out a worflow that way I can call around and get pricing.

Hello all, I was wondering if anyone has ever compiled a list of film festivals out there. I know the usual suspects are Sundance, Slamdance, Toronto . and Cannes. What about some other festivals? Personally I've worked on films submitted to Tribecca, Cucolourus, and AFI. I'm just wondering what else is out there?

Thanks Mark for the info. So it looks like the process would be 16mm-- Telecine DVCPRO-HD for edit/ color correction -- Festival Release DVCPRO-HD. I don't think working with uncompressed HD would be a benefit to this project. Does FCP handle DVCPRO-HD natively or does it need additional decoder card to edit/ color correct? Does DVCPRO-HD have a 4:2:2 color space? I'm thinking of taking the telecine DVCPRO-HD tape to an editor with a FCP setup for Post. Then have the editor create a DVCPRO-HD final cut. Then make DVCPRO-HD copies from the final cut to submit to the festivals. Would that worflow make sense for shooting on film, but distributing digitally?

I've used Foto-Chem before on two projects and liked their service; however, I wanted to know what other places people recommend for processing 16mm? What experinces have people had at other places? Any facilities should I stay away from? -Thanks

I'm a little confused as to the workflow of using the P2 footage to submit to festivals. From what I understand is that footage is captured on P2 cards--dowloaded to a computer with the P2 software--Edit/ color timed in FCP natively HDV. Then you render the final cut to a HDV master that resides on the comptuer. What tape format do you render out to for release?

My biggest concern is the festival prints that get submitted. The rental rate for the HVX camera package cost the same than the 16mm package that I can rent through a friend. We are not buying any equipment. My question has more to do with the cost of working with a digital format workflow versus film to digital (HD or DigiBeta) I've worked on 3 projects before with different production co. using the HVX w/ 35mm adapters and when it came time to screen them, I was not impressed with the image. The colors were soft and washed out and needed more saturation. The images looked great on a 17in HD monitor. I'm just trying to retain as much as I can the characteristics of film and finish digitally than spending time, money. and resources trying to make digital "look" like film.

Hello all, This is my first post on this forum and it definitely won't be my last. I've been asked to dp an upcoming project for a student short film that is going to be submitted to various festivals as well as the internet. The short is approximately 10min and the budget is $10,000. I was talking to production earlier today and they are in favor of shooting on a HVX-200. I want to convince production that 16mm should be used instead. My thought was to shoot 16mm--Telecine to DigiBeta for editing-- Finish on DigiBeta for submission to the festivals and QT HighDef for posting on the web. Is this a cost effective compromise for shooting film versus a straight digital workflow?