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Russell Richard Fowler

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About Russell Richard Fowler

  • Birthday 05/21/1950

Profile Information

  • Occupation
    Cinematographer
  • Location
    Miami, Florida
  • Specialties
    Interest in film and video production, Cinemas, post production companies, night clubs. I have over 150 film credits in cinematography, editing, sound, dailies, publicity stills,video assist. 800 video shows and 2600 live performances with lighting, audio and video design. Operated three companies which have supplied cinema and production hardware to projects and clients in 19 countries. I handle technical requirements for film festivals and premieres.

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  1. The DCI specs for a DCP package is becoming an international distribution standard since it provides studios security and control.....300 - 400 systems are being installed monthly. Many 2K (or 4K) Digital Cinema projectors + server have an Alternative Content Scaler (ACS unit / box) to allow other sources such as a Blu ray or HDCam to be displayed other than using the server. Sound can be patched in to Pro-logic non-sync or 5.1 digital input of the cinema sound processor which is another box not part of the QUBE server....sometimes there is delay caused by a system scaler or satellite feed so avoiding audio from the HDMI cable is best. If you can not get a proper DCP encoded package of your film best to source to an external device (Blu ray / HDCam.....and VERY last resort, your computer) than to get involved with the programming / ingesting your content on the QUBE. Advertising in Cinemas are usually contracted to a specialized vendor and is run on a separate video system or is DCP encoded to run on the QUBE type server.
  2. 1500 - 2000 watt scoop lights with spun glass diffusion for fill....probably on pantograph supports from the lighting grid to have a lower angle than the frensel spots and to keep the floor uncluttered for camera movement....2000 to 5000 watt size most common in that era. I remember working at 150 footcandles for overall light level (1965 - 68).
  3. I have had many good transactions. They speak and will respond to e-mails in English.
  4. The Schneider Optical Theatre Design Program for Cinema lenses display keystone image information on a flat or curved screen based on the elevation of projector lens ( e.g. tilt angle ) to the center of the projection screen. It also gives information on how much a given lens can be optically shifted to lessen keystone. I have a location that is used for Film festivals in Miami in which the projectors are at 14 degree tilt.......with the top edge of the image versus the bottom having an 18 inch difference in width....which the aperture plate "squares up"........no luck with subtitled prints which exhibit the keystoning on the letters.
  5. Omni pin sockets have problems with arcing.......in the situation when I have replamped them, I checked the pins from the lamp being removed for arcing pits or color change due to heat...if so I check the socket before wasting another bulb......I sold the Omni units I had years ago.
  6. You also had two competing sound systems....Vitaphone = Disc = silent aperture and Movietone = Optical sound with a "square" aperture due to the space given up for the soundtrack. To show both types of sound playback required shifting of projectors and /or use of a moveable mask to cover the screen between formats...by the early 1930's disk was losing out to optical sound so a 1:37/1 ratio simplified presentation. There are lens P.C. adapters to eliminate keystone ( and some projector lens turrets are able ) but I had to remove some out of a couple of locations and go back to custom filed aperture plates since the projectionists could not understand why the projectors where not "pointing" to the screen....because of the optical shift.
  7. Agfa is a nice print stock and have had seen nice results done in labs in South America. In the U.S.A. you only have one distributor handling the product....Hollywood Film Company.
  8. I have used the 1 inch duct board in many audio situations. I have the panels wrapped on the fiberglas side with flame retardant burlap to make handling less "itchy" and to protect the edges.
  9. Xetron had an auto focus system in the early 1980's which they sold next to none. Newer lens designs started to show up at the same time with a greater depth of focus which required less movement of focus. Kodak AF slide projectors had a sensor that read the position of the emulsion to move focus, if needed, as a slide would warm up. The projector would pre-heat a slide just prior to projection. The use of glass mounts made the auto-focus units work less.
  10. Basically there will be some ( in some cases minute ) focus drift based on location of image on the emulsion, composition of emulsion, thickness of base, F speed of reflector and lens, depth of focus on lens, type of film trap in projector. I was in Latin America when "Schindler's List" came out and saw the problems with the cut in of color stock into black and white and the later run on color stock. Lack of on hand projectionists due to automation makes it more of an issue today than in the past. Cutting in clips of I.B. Technicolor into B&W print stock was not a big issue since it behaved like B&W stock in the projector gate...but that is another bye gone option. Another nail in the B&W coffin is that many customers and labs may deal with a company like N.T. Audio to make their soundtrack negatives and not have to deal with the processing. After four months of Radiation therapy last year.....my piss range is excellent.....
  11. Most locations there is no one watching the screen to "tweak" between film stocks.....or listening to a projector gate "asking you" to check focus.
  12. Acetate B&W to Acetate color can focus drift.....
  13. The main problem of splicing color print inserts into B&W print film is possible focus shift during projection....with an automated projection system it is a hassle. Silver in B&W prints tend to heat up in the projector gate compared to dyes in color print film.
  14. Go......some of my nicest gigs have been for several cruise lines.....
  15. Roy H. Wagner Steven Soderbergh...among the living. Ralf Bode Nestor Almendros.....among the remembered.
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