Scott Bryant

On The Evil Dead commentary, campbell talks about them having a pot smoking scene which they actually did smoke pot. But since none of them had ever done it before, they couldn't act and the footage was useless.

Let me know if you have a c-mount or eclair cameflex mount wide lens you are willing to sell, I'm in kind of a pinch so I need it soon if possible. Also I need it to focus within at least 2.5 feet. Email me if you are interested. scott.a.bryant@okstate.edu

Thanks alot

Does anyone have any pics or footage shot with the angenieux 5.9mm lens? I was wondering if there was any kind of distortion and exactly just how wide of a shot it produced.

IMDB says they used panavision anamorphic. That's not super detailed but at least it gives you a starting place.

I'll buy the 18 if you have it.

Thanks alot, I'll try it next time i send in some footage and see what happens.

Is it generally acceptable to send in a still or two from a shot taken with a dslr or something that has been color corrected already to give the colorist something to work with? Oh, this may be comical but is it possible to do it for a one light transfer. Just to maybe set the first scene to the right levels then have a starting point for the other ones on my own? I seem to be able to achieve the look i want with still photography in photoshop but i haven't been able to really feel comfortable in Color yet. I thought this might be a way to give me a starting point to work with.

Done is in the oven, you are not finished with the research. Sorry I'm just joking. I'm dating an english teacher so i couldn't resist. Sorry to waste forum space.

Thanks a lot Dominic.

Thanks alot. So by lighting more, do you mean i would be essentially lighting the darks less and the mids more?

I'm glad it is worth the time to comment on the inadequacy of someone's post rather than answering the question or just not responding altogether. I hope part of that wasn't directed at me as I explained I already read the wikipedia article and still did not understand. Thanks for the answers from others though. I didn't start the topic but it helped clear up some of my misunderstandings.

I don't have an answer for your question as I am somewhat confused as well even after reading wiki. but I also have a question to tack onto yours. When shooting film, how do you achieve the deep blacks in film without darkening everything else in the frame? I've attempted to adjust gamma and contrast but nothing allows me to deepen the blacks while keeping the mids and whites from disappearing?

The image quality shouldn't be noticeably effected unless the old camera is so beat up that it scratches the negative or it doesn't keep the film steady in the gate which would make the image bounce around. From what I understand (and someone else like Tim Carroll, who is much more knowledgeable, can explain more) the Arri BL is like a tank and is known for having a steady image even when it is beat up. In short, the lenses are the major influence on the quality of the image.

Interesting. Thanks alot to all.

I know there isn't a set number or percentage, but how much of the "look" of a film the DP/lighting and how much is the colorist's alterations? I know the the colorist has nothing to do with camera movement etc, but it seems like an awful lot can be done in post with changing the exposure white balance and overall mood.

I would agree. I went Bolex H8--> Beaulieu R16--> Eclair NPR in not a very long time. Each one leaps above the other. I know many people have preferences and this is just mine. There are many excellent cameras available for sync work and high frame rates. My Opinion: The bealieu will get you the reflex viewing and higher fps but if I were you and could afford it I would save up for an Eclair. I've personally only had experience with the NPR. With that you can have everything you get with the ACL plus you can vary the shutter angle which is more important to some people than others. Either way, the ACL or NPR would be well worth saving a little extra money to be able to use better lenses and a better camera in general. Not that this should make a difference, but it would also give you a bit more "seriousness" in the eyes of the rest of your filmmaking crew. Depending on what you are doing you might not care (I typically don't), but i think subconsiously people see a camera like an ACL or NPR and work a little harder b/c they think it's a bit more serious. If you are completely set on Beaulieu it will be a good stepping stone camera to better things (I could sell you my old one if you are interested ;) ), but i would highly recommend just skipping it and going with Eclair. P.s. All apologies for a smiley in my post.

has anyone used these lenses? I would love to know how they turn out and i would love to own a couple but i want to wait to see.

I was just reading a topic and realizing how amazing it is that so many major industry professionals are active on this forums and continuously help out amateurs like myself. There are really too many to name, but I am amazed everyday to see people from films I've enjoyed so much respond to so many posts offering their input. So to all of you out there and everyone on the forum, thank you so much. I have and will be enjoying participating in this forum for a long time to come.

Very interesting. I enjoy old ways of doing stuff like matte paintings and live action special effects. I guess because they have been passed up now for CG.

The panavision website is good. I don't know if you already have it or not but here it is. http://www.panavision.co.nz/main/kbase/ref...calcFOVform.asp

How were matte paintings introduced onto the film. I've seen some behind the scenes videos of films that inserted matte paintings into frames as a background for actors to move around in without green screens. Just out of curiosity does anyone know how this was accomplished? I'm not particularly interested in trying it myself i was just wondering.

Examples of so much realism these days? Is this something coming out of film schools or just in general because i haven't really noticed a ton of realism in released features. At least not more than in the past. But then again I'm from Oklahoma and not in the forefront of novel cinema. I am however particularly interested in realism as far as shot length as it points to absolutes and truth. I realize people like Christian Metz et al. would heartily disagree but i really like what Bazin had to say about it and think there is something to it.

How about an Eclair NPR? You know film is HD. ;) ok ok i know that's not what you meant sorry.

A-ha. I get it the backlit thing now. Thank you all for your help. I'll be doing some tests of these things and see what ends up working best for what i'm trying to accomplish. Thanks again