Gautam Valluri

Hello All, I had a friend carry in 6 spools of 100' daylight Double-X film from the US for me and he had put in the stock with his checked-in baggage. There is a good chance it was scanned only once with the heavy scanner in the US. (I had requested him to hand carry it but he was afraid it would be scanned 3 times as he had multiple stopovers). Is there any hope of me registering a workable image on this? I am going to do a dip test with my local lab to see how bad the condition is but I was wondering if there's anything that can be done in post to 'undo' the fogging? Thanks, G PS: I had bought the 100' film spools in the US because Kodak and Fuji don't stock them in my country (stocks start with 400' cores here).

Hello Guys, I had recently edited this fantastic 2-part talk from legendary Indian DP Govind Nihalani for a magazine and I thought he has some really great insights. This man shot the assassination scene from Sir Richard Attenborough's 'Gandhi' and then went onto lense all the 53 episodes of Shyam Benegal's 'The Discovery of India'. I had a chance to attend his masterclass last year at the International Film Festival of India. I hope you guys find this an enjoyable read: PART 1: Lighting --> http://www.projectorhead.in/two/nihalani-lighting.html PART 2: Composition --> http://www.projectorhead.in/two/nihalani-composition.html Cheers!

Hello Guys, I had recently edited this fantastic 2-part talk from legendary Indian DP Govind Nihalani for a magazine and I thought he has some really great insights. This man shot the assassination scene from Sir Richard Attenborough's 'Gandhi' and then went onto lense all the 53 episodes of Shyam Benegal's 'The Discovery of India'. I had a chance to attend his masterclass last year at the International Film Festival of India. I hope you guys find this an enjoyable read: PART 1: Lighting --> http://www.projectorhead.in/two/nihalani-lighting.html PART 2: Composition --> http://www.projectorhead.in/two/nihalani-composition.html Cheers!

Hello Guys, Here's an interview I did with Matthias Grunsky, the DP who lensed films like Funny Ha-ha, Mutual Appreciation, Nights and Weekends and Beeswax. http://www.projectorhead.in/one/grunsky.html Hope you enjoy this one! Cheers,

You're welcome Ziryab. Regarding Fincher and Mann using Digital even though they could afford film, perhaps it is somewhat of an 'innovator's complex'. Some people want to be the first to try the new things out. I know everyone's talking about the new Reds and their 4k resolution. Have these people ever watched a 70mm print? What resolution is that? (No offense to the digital-friendly members here)

I think its appropriate that Fincher shot 'The Social Network' on digital because it deals with a subject matter like 'Facebook' which is an artifact of the digital world. That's just my view on things.

Hi Everyone, Here is a link to a short interview I did with Martin Ruhe, http://www.brokenprojector.com/wordpress/?p=206 Enjoy the read. Best, G.

Hi Everyone, Can anyone guide me to any dealer/ lab in India where I can purchase 100' Daylight Spools? I had called Kodak and they have a stock of 400' cores and I want to avoid re-spooling by hand. Any information would be appreciated. Thanks, G.

Has anyone noticed the cinematography in Quiet City? I believe it was shot on a rented Panasonic HVX200. I love the twilight shots of the Airplane take-offs during the opening credits and the scene where both the lead actors have a race in the park- with the camera shooting straight into the sun from a very low angle. I think it was done very tastefully. Any comments?

I believe Miami Vice was shot on a Viper. I definitely agree on the fact that the digital medium adds a lot of tension to the action shots, but the rest of the film might end up looking like Ellie Parker (which given its subject, is a great film in itself. Shot on mini DV). But in the end it's Mann's artistic choice. I appreciate the fact that he is experimenting with an unconventional medium for a period piece at that level, it is equivalent to Baz Luhrmann dressing up Romeo in Jeans and T-shirt but keeping the dialogue in classical shakespearean language.

All I remember from the film was the colour 'White'- there was so much of it. As if the blandness of the Sub-urban life was itself hovering everywhere over the lives of the two principal characters. I love how claustrophobic the film gets in its indoor scenes- and Michael Shannon, how amazing he was!

Hi Jim- I agree with you on the epic saturated colours of Legends of the Fall. It was really something wasn't it?

In no order of preference: -Chris Doyle -Harris Savides -Eduardo Sierra: -Sven Nykvist -Walter Lassally

Great work JC! All the best with festivals.