Tim Fleming

The movie Sunshine was shot with Hawk anamorphics. It was in 35mm not 16 but it may give you some ideas. It was also an FX heavy film made for not a lot of money. Thank you Kevin

'Chris Burke It is a really great thing as a "film" guy to see investment in 16mm as a format. Both regular and super. I think that the lenses are so new that very few people have actually used them, although that is rapidly changing. The link above gives another link to vimeo, where you see HD clips of their test shot on 7219 scanned on a Spirit. I guess that despite what the test shows, he had a hard time getting them to flare. All in all, a very exciting new format. If you don't mind me asking, what is your budget and workflow, besides what you already said? I am writing a feature and have always envisioned it in the "scope" aspect ratio. These lenses make that a lot more of a realistic goal. Hi Chris, Much appreciate the link. This is the 3rd feature I've done on Super 16 in this last year. The budget range I'm working in is Between $2m and $5. This current project is$ 5m . Quite a lot of effects involved and the post house are very worried about unwrapping the geometric of the lenses which has put the wind up the producers a bit. So doing a bit of firefighting at the moment. Andreas Teichner at Vantage Film is very helpful and has provided me with the Titles of some projects that have already shot this way. Our post workflow 2K digital to 2k filmout to Anamorphic print. I wanted to shoot these lenses on my last feature also but we couldn't find any available. Best of luck with your work .

I,m prepping a feature project and want to shoot Super 16mm with Hawk V-Lite 16s. I haven't yet had a chance to shoot tests but would love hear from anyone who has shot them and if anyone can recommend features they're aware of on this system. Post work will be 2k to filmout.

I've just finished a feature with Fuji/iLab. absolutely no complaints. Fantastic service and no problems whatsoever. Tech' reports by phone first thing and picture, focus etc after telecine. New Fuji stocks are wonderful.

Slawomir is renowned for the cases of filters he carries. Mostly made under he's guidance it seems. He also tests lots. I cant specifically remember off hand but know I have some info on this somewhere, which I will impart when found. On another note, the feature film Small Engine Repair, Director Niall Heery and with Cinematography by myself has just won at the Nashville Film Festival. Tim Fleming Cinematographer Europe

One other consideration when shooting rain is its(the rains) direction. Depending on the rain maker you may also need wind. Tim Fleming Cinematographer Europe

Enjoy Robert, follow your inclination and be brave. could be the motto of cinematographers through time. Tim Fleming Cinematographer Europe.

Chocolate gives a beautiful warmth, I find chocolate combined with straw or a light yellow wirks nicely also. Not sure about combining warm with Pola though !!!! Tim Fleming Cinematographer. Europe.