L K Keerthi Basu

When you are going to shoot with the flourecent lights on the you must first find out the CT of the lights. Then don't go for highspeed ,if it is a highspeed you will notice the flicker obviously. Add the correct CC filter on the light which you know already. L.K.Keerthibasu

Since it is a MOS camera it will produce noise. L.K.Keerthibasu

Dear John, I am awaiting for your reply please guide me if I have made any mistakes. Please! L.K.Keerthi basu

Dear John, My greatest achivement in removing the remjet backing is only 50 feets manually and 400 feets in the processing machine. First I put the negative in the prebath and remove the remjet with my bare hands just slightly tender rubbing on the backing the remjet will vanish immediately I can feel this while doing this and wash it with the water and i dry it with the heater if manually and If making this in the machine I pass the negative as per the procedure like prebath ,remjet removel and wash after wash It will go straight to the drying chamber the whole process was done in total dark I dont even know how the emulsion is affected or not, But still now I have never had any problem on the emulsion side I really thank Kodak because only kodak films are having the remjet backing others will add this option to their base itself during the manufacture. Today I have exposed the 5212 stock in my still camera with the remjet and without the remjet,I love only without remjet. It was something like totaly breaking the photography principles I think and the result was more then what I have expected. My doubt is how I had a sharp image in the film without remjet and a defocused image in the film with remjet? found only two colors in the negative they are green and cyanish blue . I also shoot with both 85B and without it. In day light I gave a compensation of 4 1/3stops to the withremjet and 1 1/3 to without remjet , this 1 1/3 only if placing the 85B I also made a print from that the image is you all know that is reddish magenta and yellow. Please guide me If I have made a mistakes it will be a tool to my study purpose. When i shoot with remjet I had only the green image in the negative and obiously the magenta in the print with defocused image. One thing is Black was very brilliant both with and without remjet, how? L.K.Keerthi basu

Dear Dominic and John, explain me what will happen when I remove this Remjet backing and shoot for this topic, because i can remove this remjet with the help of the processing machine and also manually.

how it was happened David? Iam really feeling bad for had happened to your work. When are your going to reshoot it if needed? All the best! L.K.Keerthibasu

thats really helpful

what they call these type of lenses? I found these lenses are unusal in the shape some thing different, The middle element is big in size and other elements in both ends are small in size compared to the middle. Sorry iam really unable to explain it detailed.

Yes Iam sure about the demo shown by ARRI in IFFI 2004 Goa.

Few days before when I visited a lab here in India I came to know about the blow up of academic 35mm to 35mm scope with the help of specialised lenses. But ARRI gave a demo on squeezing the 35mm academic to 35mm scope digitally. Which one will be having a good result. Please explain. Tell me also about the merits and demerits of both the technologies.

Thank you, Mr. David. I really feel the heat of the lights form this photos something like near to me. It is a splendid post to learn the setup. L.K.Keerthibasu

dear friends, As others told about motion picture to still camera. All the exposing methods a as it as still films, but the processing the film is a difficult job. I have exposed lot of motion picture films in my Nikon F3A. These includesFuji250D,Reala500D,Kodak 5218,5212,5248,5279,5245,5274 etc.I have got good results. The major problem you face during the processing of motion picture film is Remjet [manual processing]. I will manually process these motion picture films. We have to remove this very carefully other wise the remjet will stike to the emulsion side of the film. The whole process have many stages nearly 12. I have exposed different kinds of films even the picture positive, sound negative, I have also shooted some shots without the remjet backing[removed the remjet previously this is done manually] because in my institution we have a opportunity to develop our own negatives. It is quite interesting job when you cross process the films like processing the still in ECN2B, ECP, and motion picture neg in ECP and C41 we will get a very astronding results when we exposed the picture positive and develop in ECN2B, a blue tone which I have ever seen. Cool guys this really a interesting job then any other thing in this world I think. You get a new type of images. L.K.Keerthi basu.

Dear David, Iam really unexpected about these kind of posts with still during the location. Bravo! David I have learnt a lot above my level. L.K.Keerthi basu

Dear Dominic, As you told the equilibrium of the chemistry may change, but they have made some alteration in the formula and got a very good result what I have heard I have not looked the result. They are making this has a special process with much care and close look and not mixing their work with others(doing separetaly). Please tell me the basic differance with the still and motion picture films. How the color couplers differ from each other and why? which is a quality color couplers in the still are motion picture? L.K.Keerthi basu

Dear John, What is the main differance between a Still and Motion picture film both physical and as well as chemically? What will happen when we process the still film in ECN 2B? Somebody told me that when we process the still film in ECN 2B we will get a pure rich colors. Explain me, because currently in India they are shooting a full feature film in still films and processing in the ECN 2B. L.K.Keerthi basu

Dear David, Iam very much awating for the movie from the date of your first post. I learnt a lot above my level. It will be very much usefull if your post some of your most difficult lighting situations lighting diagram, we can compare and read the lighting while watching the movie. As Iam a student this will useful for my study purpose all so for the other students who are in this forum. Good Luck, keep in touch if possible. I really pray for your success. L.K.Keerthi basu

Dear John, Is push processing is the only method to get the contrast and saturation in color. What the main problem we get in push processing is graininess we all know about that, this will be great when it is purposely wanted for graininess. How to achive the same contrast and the saturation in color without getting the graininess. Please explain whether there is any other methods. L.K.Keerthi basu

Then I think this defination is right, "When we over or under expose a subject still the withstanding capacity of the film to reproduce the image as that of the original scene brightness is know as film latitude" I suddenly shifted to this topic because It struck in mind while Iam replying L.K.Keerthi basu

Deaer Dominic, First of all please tell me what is Latitude. How they define it, because most them explain me about SBR[scene brightness range] when they tell about latitude. Is it SBR and Latitude are all same, I think they are not. What I know is any type of film whether it is B/W or Color the latitude of them is 1 1/2 stops over and 1/2 stop under. But they say it is not latitude it is only printing range. Iam awating for the answer. Thank You, L.K.Keerthi basu.

Dear friends, What I actually done is , We have a LAD negative In our Institution, With that I printed a LAD and I corrected it for the Perfect density of all colors RED,GREEN,BLUE ,BLACK,WHITE,GREY and lady's SKIN texture. After that I printed RED cutted the other two colors,like that I repeated the same for other two GREEN and BLUE. After processing the positive I found that the Blue sensitive layer or the Yellow dye is lighter then the other two colors and It is little bit darker in the VISION stocks this is the procedure which i have done. May I follow this as procedure. If it is wrong tell me. L.K.Keerthi Basu

Dear John, I took a LAD for EXR and VISION stocks seperately for each color BLUE, GREEN ,RED. I found that Yellow is light in density then comperated to other two magenta and cyan in EXR. This yellow is little bit dark in Vision stock when compared to EXR. So from this I came to know You have Increased the yellow dye in the Vision stock, When we Increase the yellow more we will get more black in the print like what was followed in the offset printing tehnology. Please Explain me am I right or wrong. L.K.Keerthi basu

Dear Friends, I have read a technical book dealing with exposure meter mechanism and calibration. I still don't understand about that all Incident meter will show a 1/3 underexposure then normal this problem is from the calibration itself. But the book does not explain about why, can any one expalin me more deaply. L.K.Keerthi basu

Dear Friends, It is amazing to hear you all. Actually the problem with me is that I am living in India so I can't get this FREE DEMO DVD from FUJI . Can any one help me in getting that. This DVD is free only in US. Thank you, L.K.Keerthi basu

Why are you looking for color film to be developed in the black and white process? The main problem is the dyes and they create amber in the base like others said as well as the backing .Better my choice is to develop the color negative in the ECN2 process as it is. Take the negative and print in the equal lights as 25,25,25 and develop in the contrast B&W developer you will get it . Here you dont have a remjet backing, and no amber base because the positive film is a colorless base. First go for some tests, because test is the best way to achive more quality. I had a sucessful images with this process. L.K.Keerthi basu.

Lots of Thanks to all of you, L.K.Keerthibasu