Adam Thompson

Yeah that'd be so cool. I can't get enough of those great romantic comedies and experimental B.S. movies. I'm gelling up just thinking about it! <_< Really- I think there should be more male directors with less feminine traits.

Who are you talking to? I'd love some muffins actually. Know any girls that want to make me some for the credit? :D The wrath of the forum Richard? I think it's scary that people don't speak obvious truths anymore. They prefer to dance around it and what's worse is they even start to believe things and feel things they are told to by systems that develop simply to push their own economic interests. ANYWAY... James, you ACTOR, DIRECTOR, CAMERA GUY, FILMMAKING MASTER OF ALL...... you SHOULD stop USING CAPS all the time BECAUSE it's REALLY annoying.

Uh, reversal film stocks.

I cant believe I'm commenting on this but.... Why is it so important to have women in film? It's not in their nature to hang out in work groups like men do and it's not in their nature to be involved in technical jobs. And the ones that are, are often lesbians with male traits. I find it really strange that many people in the film world seem to be so concerned that everything seem equal to the point where it's absurd. Directing and DP work rarely involves a female because it's natural for men to be in such roles, always has been, always will. Get over it. Nature will always rule, not laws, not opinions, not what the media or what your leftist school wants you to think.

She is actually a he!

Then why do anything else? Tangable mediums will always prevail when it comes to matters of the heart.

When the sissy soldier character "Opum" (spelling?) finally gets the balls to shoot the Nazi they earlier spared, near the end, the highlights smear upward on his shot. I was wondering if anyone knows if this was a filter or was it a post effect. I've seen a plug-in for FCP that will do it but is it mimicing a real filter?

Robert... how did the test go? You said you had some V3 you were going to shoot.

Ok lets say someone wants you to shoot a project (on 16mm) but you have to be the sole gaffer, operator, DP, loader, AC, grip, etc.? I did it on a short once and I did it on some micro budget feature shooting small 24p cam. but I'm not sure it's realistically possible on this one. Even if I get an AC that will work for $100 a day and some 18yo PA I doubt I can say yes to it. How many days in a row can you pick up and adjust a fully kitted out S16 cam on a tripod and then rush over to adjust some bare bones lighting set up and keep track of everything without breaking your back or brain? Has anyone else been faced with this? How rediculous is this?! And why do I keep getting into this kind of thing!? :blink:

Since you have perfs burned into the film it looks like that could only happen with a major light leak as it was rolled up, or it was flashed when it was being unrolled. Either the lab did it or your mag. has a major leak issue.

I'm really not trying to pick on the footage but seriously man, it's so video-looking. I mean it's nice video, yeah, but still has that cheap feeling and lack of texture. I honestly don't see the big deal anymore. And this is coming from someone who almost put down $ on a red back in '06. And I didn't mention the obvious grip's legs and fluid head reflections on the parked engine chrome. ;)

I find it annoying when someone disgards information that someone else bothered doing their homework to gather. The little bit of HD infrared footage was shot with a converted Sony HVR-Z1E set up by Extreme Facilities U.K.. The day for night was shot on 35 as well as plates for better fx rendering. The rest, which is easily 90%, was S16 using Arri and Aaton cams with the new Ultra 16 and Ultra Prime Arri lenses. Mixed format? Not really. Babel was for sure because several scenes were shot on different mediums.

You may want to check out the new film "I'm Not There" about Bob Dylan. The scenes with C. Bale in them were shot on S16 then cropped to 2.4 to fit with the rest. (There's a lot of formats mixed in that film)

Then load up an old 16mm cam with a daylight load and shoot your landscape. Use a 500 film, push it, use an old lens and crop to fit and it might cut in with your S8 just fine. S8 just isnt a landscape film, never will be.

Uh, 28 Weeks was 95% S16mm and if you saw something switch around, it was probably a different lens or lighting affecting the S16 image. The limited night vision stuff was not on an F900 either, it was one of the little prosumer Sonys I believe. The Squid and the Whale was all S16. As was The Devils Rejects which is prob. my favorite use of it recently. The cleanest S16mm I've seen is Last King of Scotalnd (It went 2K DI I heard) or the Brad Pitt/African stuff in Babel- it was 99% S16mm and it was crazy good looking. In fact the DP said he was hoping for more grain but Laser Pacific did too good a scan so he didn't feel it off-set the 35mm enough and when they tried to add grain in the DI, he didn't like it so they left it the way it was.