Hunter Hampton

Merry Christmas to all! As far as films go, I am taking notes on Joe Wright's Pride & Prejudice as I type- not really a Christmas movie but certainly cinematically beautiful. Hope everyone has a wonderful Christmas and finds enough joy to last another year! Cheers.

I wonder what the rate is for those 1.33x lenses, im guessing they are expensive- thanks for the info though. I think I will try a screen test and see how a 2K letter-boxed DCP holds up.

Right, that would cut down on the resolution during projection. I really like the artifacts from shooting anamorphics and I plan on intentionally flaring the lens for many scenes which would exaggerate some of that. I guess the real question is can I really shoot with 2:1 anamorphics on s16mm and and get away with screening 3.3:1... or would I be better off just shooting 1.85:1 with spherical lenses? Just thinking out loud! ; )

So I have this crazy idea; There are a quite a few 2K screens in my area, and I am planning a feature shot on s16mm in a few months with a DI... would I be crazy to shoot with 2:1 anamorphic lenses and project from the full aperture? (3.32:1 or something?) It has got me thinking with the ease of making a 2K-DCP with that aspect ratio, and also most likely the only theater run of the film would be locally at these digital screens anyways... I think 3.3:1 would look good, but maybe I am just being a little to far out? What do you think?

I like panavision grey more than arri grey...? But seriously, these are two totally different companies with entirely different business models.

Ha!

I'm sure kodak is laughing at this- the skin doesn't look good, highlights are blown everywhere and the image is dull (not just desaturated but dull). Nice shooting and concept though- I really like the Red but it inst going to replace film- even super8! I would love to see part 2 of this shot on film for comparison: "Film... back from the Dead"

The S next to the 16mm can get confusing.

I have tried stacking linear polarizers before- it acts like a variable ND. I didn't notice more polarization?

Its a tiffen linear I think so 1 2/3 sounds good then. I'm shooting 7201 so im sure I will be ok. This is my favorite forum because of people like you guys! ;) Thanks.

I should know this but I don't... Is it 1/3 to 2/3 stop? Thanks.

If you take the idea of human's ruining the earth seriously, there is only one "logical" solution- which is the extermination of all humans who contribute. Sounds far fetched? I hope so. All though I really wont be surprised when I see people killing other people about this.

I like to let them all have their amps on, but I run the song track through them instead of having their instruments plugged in. - makes the song extremely loud which can help them get into it.- also all of the little lights and levels are seen in sync with the music.

Good point John- many rental houses haven't bought into the MP's because its such a huge investment- and if well known rental houses are hesitant about that purchase, I think an individual should be more hesitant about it. They are *the best* lenses and I have never seen any lens so sharp at f1.2- but its hard to find productions that want to pay that much for lenses (i.e. 1 MP lens costs as much to rent as a set of superspeeds- try running that by most producers!)

Thanks for the confirmation and insight.

Just wanted some opinions on what the most adaptable film from kodak would be. I am new to s16 and I just got an a-minima which takes kodak film only. I was thinking 7217 because its a decent speed for indoors but its also not so fast that after an 85, you wouldn't have to throw a ton of ND in front of the lens for outdoor use. Thanks for your tips!

The MP's feel fragile only because the focus rings are floating on melted butter, and if you have one in your hand- you feel pretty fragile about dropping it.

I have 2800' of various kodak films in my fridge and I just bought an a-minima and set of lenses to play with! Being that I don't have any "big" jobs planned for a few months, I would like to use this time to get some of those shots I have always wanted to have in the reel, but never have the time to get how I want when I am actually working.

I'm going to start shooting every producer I see... with tools.

Someone posted an example of pushing 7219 1-stop on here- It looked pretty good to me. I think in the clip that you showed, you can add more light in the darker sections of the bar. That would help you out much more than just pushing 1-stop.

Why do people always think my name is Richard?! :rolleyes:

Thanks for responding. How did you like the image quality from the adapter?

I think there were some mild screen direction issues that were distracting (in the music store) but other than that I think you got some good shots and It kept my interest for the whole song.

anyone?

This thing: