Santiago Benet

" Digital capture in cinematography is like painting with acrylic paint, while film is like Oil painting "

I read the other day that Harry Savides used to give his AC's cans of film and ask them to bake them the day before the shoot or the first ideas of doing bleach by pass or flashing film ,and recently read in this month AC magazine about a director an DP that build their own digital camera system.All of the above are inovations and people experimenting with the craft. Is just seems like there is more inovation in the digital world than in the film capture,because most of the post now is leaning towards digital insted of doing chemical experiments. With all respect this are my last words in this forum. Peace and Respect to all.

I just want to say , I didnt start with the violent words, I think every one knows what BS stands for, this is a quote i saw in the web is not mine. My self I favor film capture over digital. Im not saying film is dead at all. But it is true that that digital capture have been growing in the professional hi end part of the industry, I dont say that film is going to "die" at all , i just think it is interesting how there are diferent kinds of crews diferent of how it used to be 10 years ago. im sorry for getting angry and "calling names " but i post here with respect and I expect the same. apparently some people cant deal with ideas without gettin passionate it looks like a politics discussion, not cool at all.

Bah ! what term paper ?? are you a grumpy moron? not interested ? just keep going and ignore my post. these lab techs they did study chemistry and maybe in your mindset this is not interesting, maybe in someone else it is.GFYS.

Not my intention at all, Just some quote from the net , and seeing articles about the masters shooting Digital ( Roger Deakins, Vilmos Sigmond, Darek Wolski,ect) I thought it was a interesting topic ,not as a violent passionate discussion but an intellectual high comprehensive one, my self I think film is is the best format overall but every day digital is improving its quality and the productions are turning more into digital and what it used to be a world full of chemical experiments is turning into a computer geeks world ,that clearly affects the kind of people that work with us on set and on post even on preproduction. Instead of having a person that could load a magazine without looking what he is doing following their instinct now we have a geek downloading the cards and playing on a computer.Not saying this is bad or good Just a different kind of people on our crews and the loader is just one example. Instead of having chemists on the labs dealing with the film we have computer guys dealing with color and and definition issues the type of professional involved in movie making is diferent even when you shoot film the post in most cases is digital ,so is a truth in most cases that "filmaking" is getting more digital everyday.

"Cinematography used to be a chemical romance, now days is a digital romance ." would like to hear thoughts about this words

Thanks for your thoughts and time!

I Just finished shooting a short film with Red MX using raw view at the time of shooting . And its going to have a lot of CG. I have a doubt about the color correction, should we do the color correction before integrating the CG or should we do it after everything is done or should we do a pre color correction an then do a last one when everything is done? Thanks a lot for your time and responses!

Claudio Miranda ASC shot a 50 cent video with RED and anamorphics ,is the fist one on the page http://www.claudiomiranda.com/videos.html I shot this more humble video using a RED MX and anamorphic LOMO lenses its a very easy workflow, the anamorphic built in setup crops the sensor a little so you lose some resolution and it crops the lens view angle a little as well. it gives very nice looking flares.But you could also use spherical lenses and use RED code 42 2:1 and then crop it to 2.40:1 for maximun resolution as Jeff Cronenweth ASC did in "social network" http://www.imdb.com/video/imdb/vi4152690201/ I hope this helps ! its a world of options

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Thanks Again!

Sorry for the terms, we would develop the film and then scan the negative in hd 1080 ,I was trying to get a 2k RGB data scan to have more resolution ,but he says its a overkill for a shortfilm. My only concern is that we would like to print a 35mm projection copy in the future. Would we be able to get good results from the 1080 or should i insist on the 2k scan ? thanks again

I would like your opinion and technical advice on this process we are using. I shot a short film with a very very limited budget but with a lot of help from skilled people and rental & service companies.This particular post is about the Post production.We shot a dream scene in Red and the rest of the story in film. For the film part we used 3 kind of different emulsions Vivid 160T , Vivid 500T both filtered 85 for the "reality",and 5219 V3 to create a cleaner look for a specific part (a court room). A local post company is helping us with the color grading and they are mostly a digital post house.They mostly work Red files, so the technician told us to send the material to a lab and print it and do a flat pass and scan to HD to process it in his machines. The question is would i still have the benefit of the latitude and resolution of Film at the time of color correction and grading ? Thanks for your time.

Just wondering if some one have had the opportunity to test the new Leica C 1.4 PL mount lenses. http://www.bandpro.com/309/index.php?page=shop.product_details&flypage=flypage_images.tpl&product_id=40&category_id=33&option=com_virtuemart&Itemid=27

Check this guys other publications on the link. He is a enemy of IATSE and apparently he wants every crew member to gat paid a minimum wage ,so that he can spend more time with his family and his cat. I think that he deserves to be in thailand.

there's a rosco color R 325 its a kind of new color. It looks just like that on the eye. I have used on my lighting design for theatre.

I would definitely say Dariuz Wolski, or Janus Kaminski , o Emanuel Lubeski these guys lighting and use of camera is very creative. Would love to have that input into my formation. And if Conrad Hall would be alive that would be an other kind of learning from a master.

Hi , recently I worked with DoP Dariuz Wolski and we had in our lighting package a series of sodium vapor fixtures ( 75w,250w, 400w, 1000w commercial fixtures ) wish he used instead of correcting tungsten lights and it looked great he told that he has been doing this for a while you can see it on the movie eagle eye it looks great. other people i have worked for use other formulas for example Robert Elswitt used a gel called lee 232 super white flame and it was similar to sodium vapor. But Wolski's formula is the exact same color tone and if you have a good grounded power you should have no flickering. I know that rosco has a corection for sodium vapor we used once with a 6 k hmi and looked good too. Now days source maker manufactures sodium vapor ballons. I did a commercial recently with RED cam and we had a night exterior and applied the Wolski way and it looked awesome. I hope this help you in some way.

Thanks ! for the info. I would love to hear more.

This is a long discussion between electricians in my town. When turning on a HMI electronic ballast should the dimer position should be set on max or min? I have noticed that when you turn it on low the lamp goes all the way up then sets to the dim down position. So in my opinion, it is better to leave the dimer up all the time and dim it down if you need to. I have a very good electrician colleague who says that the different manufacturer specify that the lamp should always be turned on the dim down position. If you have any facts and opinions we would love to hear them. Thanks!