L K Keerthi Basu

Thanks to all of you.

I know that people where doing this other then in India and got satisfactory results. Here in India the cost of transfering the HD to Film is realy high when comparing to Other countries, and they are not still that much quality. So that I came to know about this.

Iam just tring to test this if I get a that much result you have got that is doing here.

The basic problem here in India is we dont have a Good Technical superviser in Film recording and the people cant understand what we are explaining.

Dont think that Iam Blaming on others because we are suffering to bring this out.

So that Instead of getting that such a poor quality for high price why dont we try this for a very lower price with the available equipments.

Please Give me the technical issues which will cause and how to give the exposure. Whether I have to Expose this every shot by shot with a help of a Spot meter?

Regarding the LUT how to control that?

I have Question, I think this is not new to you people?

If we want to transfer a HD formate image to a Film formate. Why don't we shoot a HD image in a HD monitor with Film? Is this is Possible, If possible how to shoot this? What are the things to be cautious while shooting this?

I not speaking about the quality ,accutance and reproduction.

Iam new to this technique,

L.K.Keerthibasu

Other then these uses I think that GREY CARD is a very good tool for the correct expsoure. Cinematographer can judge his exposure is correct or not, here Iam not taking about the color correction but about the negative density.

KODAK GRAY CARD PLUS is a well calibrated 18% gray card, only with this I have learnt about Exposure.

Apologise if Iam out of the topic.

L.K.Keerthibasu

Thank you FKP-1.

That really helps me.

L.K.Keerthibasu

May i know what is the spot angle of Nikon N80, because Iam in search of that camera. I know the Spot angle of N70 and N90 it is 3.44degree. But these camera are outdatedand not in sale at present.

So Please kindly help me in Giving information about this OR any one who is like to sell these cameras. Any other camera which is Close to this Spot angle from 1 to 4 degree.

Sorry to ask these type of still camera questions in this most esteemed website.

Forgive me for asking that.

L.K.Keerthibasu

To learn it deeply please go through "Practical Sensitometry" by Wheeler and "Motion picture cameraman's handbook" by Russel Campbell

L.K.Keerthibasu

There are many recommended cinematography and lighting books & manuals endorsed by this sight. But I haven't been able to glean any valuable book recommendations with composition as the sole subject.

Any fantastic suggestions that discuss composition that transcends the usual generic formalities?

Dear James,

The basic book about the Cinematography Composition is "5 Cs of Cinematography" by Joseph V Mascelli. That was a frantastic book about grammar of Cinematography composition , camera angles,cutting,close-upand continuity.

There is no other way other then practice and creativity. These will be just a guide to improve our knowledge but they dont teach us Creativity.

L.K.Keerthibasu

Hi,

There are possiblities to do like exposing with a color negative and print in color positive and develop the color positive in a B/W contrast developer for the required product gamma.

As I have done this test and got it , try it. Look what others tell.

L.K.Keerthi basu

"Lighting for Film and Television" by Gerald Millerson

L.K.Keerthibasu

Some good reading to get you started:

"The negative" by Ansel Adams. Once you learn the Zone System, you'll be very much in touch with your spot meter, actually beetween incident and Reflected, the last one is my fav.  After this book ( related to B&W photo ) should refer to other literature focused on Color Zone System, for color reflectances have their own natural "placements" in the zone system.

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Thank you,

As you said about I read Adams "The Negative","The Print" and "The Camera" they were really precious books to the cinematographers and photographers. Actually Iam Collecting Notes and information on the Internal Parts , Mechanism and the Working Principle of Spot meters in digital also.

Please helpme in knowing this information in weblinks or guide me with some referrance in books, If you include Color temperature meters also I will be really grateful to you.

L.K.Keerthibasu

dear friends,

Can you please provide me any web link to learn about the working principle and the operating technique of SPOT METERs.

L.K.Keerthibasu

Thank you Mr.David,Mr.John and Mr.Dominic,

Actually the director has decided this after shooting the project, thats why Iam asking this. I know this is a painful work. I will put tests on your suggestions.

Thank you once again.

L.K.Keerthibasu

What I found in this is the Sharpness of the Image becomes soft when you scan and record back to film comparatively . It is better do that in Photochemical.

L.K.Keerthibasu

There is a mild increase in contrast when you push process, but the stocks are resistent to changes in processing. There is also a mild increase when you print down a denser negative.

 

My suggestion would be to push one stop but not underexpose to compensate, and then print down the extra density.

 

There are ways of adding contrast in the print, from the minor boost from using Vision Premier, to silver retention processes.

 

If this is for telecine transfer only or D.I., then contrast can be added digitally.

 

The only way to achieve a serious increase in contrast in the color original would be to shoot color reversal, or even cross-process color reversal.  Or skip-bleach process the negative.

 

Test, test, test.

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Thank you Mr. David,

Iam actually trying to bring this effect in my project work which was shot in the total daylight. My expectation is to bring the negative to a gamma of 2.1 to 2.4 from 0.55 without the colors desaturated. The look should be a compressed tonal reproduction in the midtones. I have tested with the Bleach bypass but the colors are desaturated.

L.K.Keerthibasu

Thank you Mr. Dominic and Mr. David. I still have a question ,what is the way to bring the negative very contrast? I don't want to do this in lighting the scene. Is there any possiblities to do this in developing(color negative)? A contrast look like a picture photographed as that in a pan sound negative.

L.K.Keerthibasu

please forgive me, I dont think that Color negatives are possible to under expose 3 stops, are they same as that as the original scene when they corrected for normal print. I believe that the shadows will be reproduced as grainy and murky look . This is what I found with my exposure tests.

L.K.Keerthibasu

I use Sekonic L398M studio deluxe, This is a good meter I have ever used Because i masted this meter so with this i had correct exposures. Its all about the way you use it.

L.K.Keerthibasu

This is a basic question but I dont know whether this is a valuable .Why the contrast Decrease when the ASA increases am I right? Why this happens? Why the sound negative films are developed to a higher Gamma value like 2.8 to 3.5?

In B/W motion picture films the negatives developing times are according to the ASA rating, but this not applicable in the Color films is it because of the DYEs?

Iam asking this because after shooting we can alter the contrast of the film during the developing if the cinematographer desires.

Why the Gamma values of both the negative and positive are fixed to a particular values? Is there any other reason other then Product Gamma?

Please forgive me for asking these silly questions.

Awating for the reply,

L.K.Keerthibasu

Yellow-Green 11 and Green 13 are the ideal filters to render the skin tones with the Red 25A filter in the camera. This green filters will have their effect on the red portions of the subject so this will give a skin tone separation with the dramatic clouds by the Red 25A. Green 13 will do well on the skin tones with the High speed films.

L.K.Keerthibasu

I originally tried a pre-bath with a solution of borax and sodium hydroxide (per Kodak's spec), but it wasn't very effective at removing the rem-jet by itself. In a film processing machine, the solution is sprayed onto the film, which both softens it and removes it. I gave up on this after noticing that the developer and stop stage removed more of the rem-jet than the pre-bath.

 

I haven't had any trouble with rem-jet sticking to the emulsion. As far as I can tell, having the rem-jet present in the developer doesn't harm anything. It doesn't quite "dissolve" in the developer as much as simply settling to the bottom. Besides, the carbon rem-jet is chemically inert and shouldn't have any influence on the action of the developer.

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But I have removed the remjet with the use of the prebath solution. I have done this to shoot the film without the remjet. And I have no problem with this as you said. How many feet of film are you using for 1 litre. I had a problem like this when I developed like you in the C41 without removing the remjet in the prebath stage.

As you said that carbon remjet is inert chemical in the developer then why they need a prebath stage before it enter the developing?

I'm sure it's a combination of both. First, the C-41 processing renders the image with a very green cast, so a lot of the red is missing. And bypassing the bleach step desaturates the image, reducing the reds even more.

The rem-jet seems to come off after the stop bath. I use a stop of water and sulfuric acid, and once that is over much of the rem-jet flows out with the stop. I'm not sure if it's the developer or the stop that really loosens the rem-jet, but by the time the fixer is applied, most of it seems to be gone.

I would love to, but I can't seem to find an easy way to get "seasoned" ECN-2 developer. C-41 developer is readily available in small quantities (both seasoned and replenisher), but not ECN-2. If you've got a source for the stuff, I'd love to know!

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Remjet will be the biggest problem to you because, as you said the remjet is dissolved in the stop bath and most of them are loosen in the fix bath. This remjet will contaminates your Developer , stop and fix bath solution by further more process in the same bath. Remjet will become loosen when it is dipped in water for some time, so that some of the remjet will be left in the developer also. This will stay in the solution, some of them will even stick to the emulsion side of the of your negative and impossible to remove with your cleaning solutions.

So use a prebath and wash the remjet with adequate water , take much care that the remjet should not stick to the emulsion. Go through the KODAK prebath formula it will cost you only little. Wash throughly after every stage , this will give you better quality.

L.K.Keerthibasu

Thank you, John. I know about the Internal masking in the negative which produce these amber color in the base. I got it but what i like know is Why any two negatives let us take that 5212 and 5218 for ex.,dont have the same base color density? Why this is like that ? whether this is due to the usage of different color couplers for different stocks or due to the ASA of the film and grain size. I dont know why this slight density change in the amber color of the base.

I also found this will change because of the wrong processing controls in the lab.

L.K.Keerthibasu

I basically have a doubt in the negative base. Why all the negative bases are not matching to each other from a same manufacturer? I think that they use same dyes for all the emulsion or they are different in each and every stock. The base density in each stock is differing why this happens?Did they happen due to the different ASAs grain size.

Why it is not possible to manufacture the films with same base density? Is there

any scientific reasons behind this?

L.K.Keerthibasu

thanks laurent.i feel very happpy when i see your replies.

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Digi Beta is quite well for the quality, and use very softlight. Since it is a table top you can control your light to bring out the textures in the food, it will tell the remaining story you want to present.

L.K.Keerthibasu

As others said about the movie I too have some thing to say, Steven is continiously using this searching sequence, Like the aliens video detectors i actually dont know the name of the that which is seaching Tom and Dakota underground. He uses this same sequences even in Jurassic Park and Minority Report. That sequence In WOTW was not building any thrilling like that in Jurassic Park and Minority Report.

One thing I want to say If others don't mind it as a wrong comparison, Tom was actually avoiding Dakota from seeing the Destructions happening around them. This is some thing which is followed in Life is Beautiful. However the two storyline where different but the content is one like avoiding destructive thing to the childerns.

It is not a Steven's Film. I had great expectation for this movie but it not satisfied me in Story and Directorial touch. Sound, Art Direction, Cinematography and Special Effects are really great.

Iam a fan of Janusz Kaminski, He is following his same style in this film also, that is What I found. Keeping the Back light and Background light overexposed then the subject , and creating smoke light streaks patterns. I loved the lighting strikes and lighting Inside the Tom's House interior and Nice close-ups in the interior.