Tenolian Bell

I may have this all wrong. Shooting super 16 with 35mm Zeiss super speeds. The guy at the rental house is telling me 35mm lens double in focal length if used on super 16mm cameras. I've done this a couple of times before and I don't remember the focal length doubling. He's saying that since 35mm lens are made to cover twice the area of super 16 all of the light is focused on on the half sice frame that it dobles the focal length, which does make sense, but I've never heard that it does that. It does make sense though.

I may have this all wrong. Shooting super 16 with 35mm Zeiss super speeds. The guy at the rental house is telling me 35mm lens double in focal length if used on super 16mm cameras. I've done this a couple of times before and I don't remember the focal length doubling. He's saying that since 35mm lens are made to cover twice the area of super 16 all of the light is focused on on the half size frame that it dobles the focal length, which does make sense, but I've never heard that it does that. It does make sense though.

The other dirty secret of much of digital production is the money that is spent in post to clean up shots that didn't come out very great, or to make ok looking shots better. From what I've heard 28 Days had extensive post that cost just as much as the porduction itself. I've met Ellen Kuras and her Dv features she said the money they spent on post to clean up DV problems brought the cost of production to the same as shooting film. So when you are watching these film you are not watching what came from the camera, you are watching lots of interpolation, sharpening, and color correction. Tenolian Bell