Robert Sanders

I've never heard of streak filters for emulating anamorphic lens flares. Please expound.

I've always wondered about what the options were for the film-out. 1) Do different film recorders use different types of stocks? Do the different recorders have their own unique "look". 2) What options are there, in regards to film stocks, for the film-out? Personally I wouldn't add any artificial grain to the image in post production (via software). But I would like to have all organic grain elements applied simply through the process of the film out. 3) But how much control do you have (wrt grain size/amount)?

I would definitely do this in post. As I'm sure you're already aware creating a representation of B&W from color photography is more than just desaturating the image. Dialing in the contrast is very important. Personally, I would prefer the option of dialiing in these values carefully, in front of a calibrated monitor, rather than doing it on set.

Ah, the good old fashioned Lucas bash. Every board needs one. Yawn. It's his money. They're his movies. As long as he's paying the bills, he can do whatever the f*ck he wants. Oh, and that Avid you guys edit your films on...thank Lucas for that (EditDroid). And those digital touch-ups and fixes you'll need to apply, you can thank him for that too. Let's not forget all those salaries he's ponied up for over the last fifiteen years, they produced Photoshop (Knoll), modern compositing applications like Shake, etc (Sabre). Pushing Panavision and Sony to collaborate on a 24p camera system, we can thank him for that too. And there's pushing the limits of cinema sound systems, THX theater alignment programs... I guess the guy's a hack. java script:emoticon(':rolleyes:')