Curran Rowe

If you're just interested in minoring in film but otherwise having a good academic experience, Wesleyan University in CT is a great small, liberal arts college with an established film program. A lot of established filmmakers are Wesleyan alumni.

Just out of curiosity, could you describe what the setup was like? How many windows were there and how large were they? And where were the windows in relation to the camera and the subject? Also: where were the 2Ks in relation to the camera and the subject and what were the 2Ks diffused with? Were the 2Ks tungsten and the windowlight was then balanced? Thanks!

Mr. Pytlak? Any Kodak inner circle insights into the differences and quality (subtle or otherwise) between '77 and Expression '29? Thanks!

Phil, I think you're exactly right. I usually work in LA and so I was very taken with the difference in the natural effect of a wintry, overcast sky. I think I know the kind of late-afternoon sun look you Brits are going after. We call that gorgeous, warm, side-sunny, sunset effect the "Armageddon" look, owing to how often John Schwartzman seems to utilize that look in the films he's shot. Schwartzman is a real master at taking advantage of the direction of natural daylight on his exteriors.

There was a very gray, overcast sky this morning (I'm in the Midwestern U.S.) and the way this light came through the window made the room I was in look incredible. How might I go about getting this kind of "gray" color cast if I wanted to replicate this look on film? For if I put a gray gel in front of a light isn't this basically going to act as an ND? Is the gray look I'm perceiving simply my eyes not being able to pick up enough light and "underexposing" (I do think a big part of re-creating this overcast, interior look would be underexposure and softness)? There did seem to be a slight blue tinge to the light I was observing this morning (but not nearly as much blue as you see affected in the typical Hollywood film). Does anyone know what is going on in terms of the color spectrum when early morning, ambient skylight is filtered through/bounced by gray skies? What might have been producing the quality of the grayish, desaturated colors I was observing? Could one apply this color theory to replicating the effect on motion picture film?

Thanks David. I really love the '77 - I shot a S16 short film with '77 rated and developed normally and also pushed it one stop (and rated it 500 ASA) and was very happy with how the stock responded on both counts. In the recent book 'New Cinematographers' I think Lance Acord, Harris Savides and Darius Khondji all give '77 a mention. But maybe it's time for me to give Expression '29 a try - if some extra speed can be gained without an increase in grain, why not? Regarding the Fuji 400T, I thought the look Roger Deakins achieved with flashing '82 with yellow light in the Princeton segment of 'A Beautiful Mind' was amazing. Great method to establish period. Other low-con stock comparison insights/experiences?

Has anyone tested the 3 major low-con negative stocks (Kodak 320T 5277; Kodak 500T 5229 'Expression'; Fuji 400T 8582) in a direct comparison test? How do they compare in terms of latitude, color rendition, saturation and granularity? I've seen a few previous posts discussing the qualities of the stocks individually, and was wondering if anyone had tested them side by side. Also: could it be said that Kodak Vision2 5229 is intended to "supplant" Kodak Vision 5277 in the same way some of the old Visions are being phased out in favor of the Vision2 stocks? How exactly are the qualities of '77 and '29 different (as they are both marketed as pastel, low-con, stocks)? Thanks!

Kodak 5289 800T rated at 500ASA for both interiors and exteriors. Shot with a polarizer and an N.9 outside with no 85 correction. Good article on "Bully" in August 2001 issue of ICG magazine.

Interesting early von Trier film that alternates between 16mm and 35mm black & white. The 35mm sequences are beautifully shot by Danish cinematographer Henning Bendtsen, who was Carl Dreyer's D.P. (!). He later shot the astounding "Europa" for von Trier. Interesting to think of those two working together... In the commentary on the Epidemic DVD, von Trier said that whenever Bendtsen put in his diffusion filter, "he would make everyone on set turn their backs" so he could keep the type of filter he used a secret. If you've seen the film, the diffusion filter created halation, overblown windows and glowing highlights (the white lab coats of the doctors glowed brilliantly) Robert Richardson-style. However, the image seemed to remain razor sharp, snappy and contrasty. So, all this begs the question: what filter do you think Bendtsen used? What is the best way to get your highlights to pop up glowing like that but at the same type maintain a very sharp image and not suffer from the softening effects that a soft or frost diffusion filter will give you?

Great film. I loved the serene, flowing camerawork. From what I can find on the net it was shot on Fuji 250D and released on Kodak stock. No digital intermediate. I was almost sure that they shot with type of Soft or Frost diffusion because of the glowing highlights. But watching the behind the scenes doc, you can briefly make out the labels stuck on mattebox: ND3 POLA ANTIQUE (no soft or frost filter? I was surprised.) It got me wondering, IF one wanted to create bright, overexposed, glowing highlights with a diffusion filter, would stacking a pola on top of that counter some of the effect of the diffusion filter? Anyone have any further information on the cinematography of Before Sunset? Any additional information would be appreciated. Thanks!

Hey everyone, A DVDr copy of "The Passenger" is available at the website: superhappyfun.com Films out-of-print and otherwise unavailable in the U.S. are available from this mail order service for the average price of $13.00 per DVDr. They are a reliable service -- I've bought from them in the past with no problems. Hope that helps.