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Cameron Glendinning

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About Cameron Glendinning

  • Birthday 10/19/1969

Profile Information

  • Occupation
    Other
  • Location
    Sydney, Australia
  • Specialties
    Cinematography and cinema projection technologies

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  • Website URL
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  1. I would look into remote aperture control for the cameras. This is how most concert multicams are shot. It might be easier and quicker to go this way rather than trying to redesign the shows lighting. Just my 2 cents worth.
  2. I agree that slightly underexposed can provides better results with reversal stocks, less grain and more headroom for highlights. Obviously you are only just erring under perhaps say 1/3 of a stop. Too much and the image will be milky looking.
  3. Roger Lanser as a Cameraman/DOP in Billy's Holiday (1995)
  4. Thanks David With the numbers of both Hollywood (50%) and Bollywood (close to 100%) films being scope, one would think that Texas Instruments would be focusing on a 2.375 chip rather than one with a 1.77 aspect! Personally my paranoid feelings about this is more based on the IT industries that are calling the shots behind the scenes. Scope in D cinema represents aprox 800 lines of vertical resolution, a long way from the 3,000 plus lines of anamorphic scope (based on a film grain structure of 5 microns each) Personally I dont know of one film maker or cinema owner/worker who would welcome this change. As I said before people with vested interest are talking about it. Momentum film distributers in the UK have acted along this line of logic with their UK release of "Painted Veil", Im under the impression that dispite the complaints from customers and cinema staff no digital 2.4 aspect digital prints were made, Those cinemas that asked for 35mm scope prints were reminded that "We were told by them that due to being part of the UK Film Council's Digital Screen Network we were contractually obliged to show the movie in the digital format." Personally this situation should never have happened or atleast rectified ASAP. Lets hope that it never happens again! If it does, demand your money back, complain to the distributers and the production company, It might be a case of being being vocal and the only reason they would act if it becomes unprofitable for them. Afterall the majority of people who do go to see a film in a cinema would not be able to judge its correct ratio.
  5. Im under the impression that 2k D cinema does not use a 1.5 anamorphic lens that was used for the original 1.2 k version. I will enquire about sonys 4k projector ( which IMAX has anounced plans to use to replace 15 perf 70mm) but suspect at this stage it does not. So perhaps a 30% reduction in both brightness and resolution. Historically why would you shoot in scope in the first place? It was 20th Century Foxs fight back to television, and to give people a reason to go to the cinema again in the 1950's. Now that we have come full circle, both TV and cinema have wide screens, the difference between quality of HD 1080p and 2k D cinema is slight. Is it fair to say that directors and DOP's now choose to shoot in 2.35 because it looks so cool on their plasma at home? or because of childhood memories of watching the screen grow as the feature started at their local cinema? Ultimately these decisions are made by the distributors, not the cinemas, not the filmmakers. As with Painted Veil in the UK, it was the distributer who decided that the higher resolution pan and scan 16.9 version of a 2.4 framed movie was shown to the public. I guess this askes the relevence of cinema today, when more money is often made by a films DVD release. Personally my childhood enjoyment of films like Star Wars would not have been the same if the screen had shrunk by 30-40% when it started. Now that American cinemas, advertising before the feature is becoming wide spread (Australia and England have been this way for decades) is it a case that the Epic feature is dramatically smaller than the in house advertising? Is there a way of finding out what the distributors think?
  6. Australian 16mm production in 1988 called "Zombie Bragade" directed by a guy called Barrie Patterson. fortunatly it was never released. ummm anything with micheal york? I cannot remember one good film with him in it, just some absolute stinkers. Highlander 2 and beyond :blink:
  7. D cinema, 2 k from what I've read is xenon. DLP 2k info
  8. Over the past few months some cinema owners and techs have been discussing the future of the truly wide screen. Many now seem convinced that scope will eventually be phased out. Personally I took this as crazy talk until the D cinema release of Painted Veil in the UK, where a 16.9 pan and scan digital print played this 2.4 aspect shot film. Here in Australia the E cinema standard (hd720p) is slowly being installed in cinemas to complement the 35mm. Many art house titles are becoming avaliable this way, unfortunatly scope in the majority of cases will end up be letterboxed within the 1.85 frame. Australia has aprox 90% of screens are common hight, so the picture grows by 40% in scope. Over the last 10 or so years common width screens have been appearing, this is were the smaller 1.85 frame is blown up to be 40% bigger than scope and the screen shrinks for the higher quality scope frame. which seems totally backwards to me. however ideal for the current lower quality digital scope. Does anyone know what is going on?
  9. What digital projector is in the box? I dont honestly know for sure but D Cinema 2K projectors are being installed through the UK arts council's digital screen network, NEC seems to be a popular choice with QuVis servers. Here in Australia E cinema is being installed at the moment mostly for advertising and non film content. E cinema tends to be 720 line HD projectors (panasonic is popular) with the Ec2 Atlab servers. Many arthouse films are avaliable for presentation this way, unfortunatly scope tends to be letterboxed in the 1.85 frame like a DVD. Picture quality really seems dependant on the quality of the digital file
  10. I was actually thinking when I wrote it that, their should be a James Cameron exemption :) . as I cannot name many other great examples from that era. Unfortunatly for me Gladiator did not look great on a 70 ft screen, more the cinema pushing the boundries of 35mm than the film to blame obviously. I am currently working as a projectionist and have run many tests over the past few years for a friends post house, 2 perf 35 and s16mm to me looked amazing. s16s traditional washed out look completly gone. Currently here in Australia many cinema techs are suggesting that D Cinema will ultimatly result in the death of the 2.4 ratio. The Painted Veil in England fiasco may be a sign of whats to come. I shall start up a new thread to try to gain some perspective. Personally this seems insane to me.
  11. Hi All I too have been interested in 2 perf 35mm for a while. Its definitly not new, the italian westerns of the sixties, and also Bollywood. Here in Australia I know of two films that were shot in this format over the last 5 or so years. "The Finder" and "The Crop". I could be wrong but I think the Lab involved was called Movielab. What interests me is the DI. I personally have never been a big fan of optical stage blow ups. The DI has made a huge difference with quality on the big screen for either s16mm / 2perf 35mm or super 35mm productions.
  12. So many of my inspirational cinematographers and their films have already been mentioned. My biggest inpiration really does follow this earlier quote. I would like to thank Terry Burnes, David Marshall, Mark Chapman and Roger Lanser who 20 years ago worked in the Cinecamera department at the Australian Broadcasting Corperation. Their passion for film and its possibilities was addictive. I will always be greatfull for their advice and training of their new assistant. Unfortunatly for me, the arrival of SP Beta and with it reduced crew sizes meant no more assistant within the year. I have to thank Mark and Roger, for their continuing support, knowledge, access to equipment, pulling me out of retirement! and most importantly critism of my lighting style. Thankyou so much for your valuable time.
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