AmatEscalante

I have seen the movie in Cannes. Projected at the big Lumiere theater on HD and it looked very nice. The movie is beautiful. Too bad it was ignored by the jury. But it got the Critic's Prize. ____________________ Amat Escalante

I think Last Days is the best of the 'fu**ed youth' trilogy. I felt it had more substance than the others. It's a really relaxing movie. Its suposed to be like a long heroin trip I think. There are some amazing shots/secuences. I saw it at Cannes in 1.37 aspect ratio. But I imagen that the theatrical relesae is in 1.85. No Nirvana music in the movie, but i liked the way he used the Boys ll Men music video. Reminded me of Michael Haneke's Seventh Continent.

Landon D. Parks, Actually there is no way you have read more than you need to because you don?t even know how to write properly yet. Less surfing the net, less blabbing, less pretending and more hands on action is what I suggest if you want to become a real filmmaker. Only my opinion. good luck

The Brown Bunny (Japanese edition) has commentary by the DP. But the american version has not come out yet so I don' tknow if it will also include it. He explains how he focuses with one hand while acting and driving at the same time.

The EICTV in Cuba has summer workshops. www.eictv.org

Hello, I am in need of a Zeiss super speed 12mm Mrk ll prime ( PL mount) to complete my set. Thanks.

Hello, The anamorphic adaptor lens that was used for "Japón", and also Gaspar Noe's "I Stand Alone", can only be used with prime lenses that go from 20mm to 135mm(horizontaly they become 10mm to 65mm). You must calibrate the primes to an exact infinity setting so that you can then pull your focus using only the anamorphic adaptor. I think it is a very good choice for low budget productions(like most 16mm productions) but using normal anamorphic lenses I belive would be alot easier. The amazing thing is that you can use any regular 16mm camera and end up with a Cinemascope image. Another detail is that since the 16mm frame is about 1.37:1 aspect ratio you will end up with a 2.74:1 aspect ratio image. You then need to mask the top and bottom of the 1.17:1 (Scope) 35mm frame and thin black bars will apear in top and bottom, that NO ONE will ever notice.

FILM CAMERA 16MM ARRI IN VERY GOOD CONDITION THIS CAMERA WAS USED TO MAKE THE MULTI AWARDED FILM "JAPON" (2002) BY CARLOS REYGADAS Please visit the eBay auction @: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...item=3833613706

I have done exacly this a few times by plane. First time with an old Arri 16s, lights, tripod and a bunch of unexposed negative, without any problem. I said I was a student and working on something for school. I have also done the same with an Aaton XTRprod telling the custom officials it was just an old movie camera not even video. And they let me pass just fine. If they find any reson whatsoever to charge you a fine they will not hesitate. Once they charged me $100 dolars for taking a few more audio CD's than the 10 that are permited. This is because I got the red light and they opened my stuff. Good luck and hope to get the green light.

Can someone tell me a good place to do an optical blow-up from Super 16 to 35 mm in the Los Angeles area? I know Fotokem does , but I prefer not to use their method of super16IP to 35IN.

Thank you very much everyone. This info really cleared things up. And many congratulations to you Mr. Mullen, for your new ASC status, I just noticed. I wish the best for you and the work you do. Good Day

Is there such a thing as uncompressed HD-D5? I have called a few post-houses and none do uncompressed D5. Is 4:4:4 D5 format uncompressed? Some info would be very appreciated.

In this month's issue of American Cinematographer there is a big article on "Never Die Alone" that was shot by Matthew Libatique on Super 16 framing for 2.40:1. He used many different stocks, including the Vision2 7218. I have not seen the movie yet, but am sure the image is acceptable enough for today's audiences. Another recent movie shot like this is "Irreversible" by Gaspar Noe. Using 500asa film rated at 1000 and all in practical nigh time lighting. I think it looked very good. And then there is this: http://www.kodak.com/country/US/en/motion/...dragonfly.shtml

I think the ACL is a very good film camera to start with. It depends what you want to do with the camera as far as a lens. If you plan on finishing on film you should get the best lens you can afford, it is more important than the camera. If you have a Bayonet mount and plan on shooting S16 for blow up to 35, a set of Zeiss super speed primes would be the best and most affordable way to go, and they all cover super16. If you only plan on finishing to video a Zeiss 10-100 T2 zoom would be fine, or maybe even an Angenieux. But most of the time these lenses do not cover super16. Realistically you would have to spend more than what you spent on the camera to get a good zoom that will cover super 16. A lens that covers super 16 will also cover regular 16, so you can use the same lenses no problem. But a lens that only covers regular 16 will not cover super 16. hope this helps a little bit.

OK. Thanks. Another question. Are there different percentages of silver retention that one can ask for at the lab? For example to remove only 50% of the silver.

If I am going to use silver retention on my negative. Should I just expose normal if I shoot super 16 for eventual blow-up to 35mm? This would compensate the over exposure needed for blow-up and the under exposure needed for silver retain correct? Any recommended filters for shooting for silver retain in exteriors? I plan on using the new Vision2 7212

Yes reversal film would be about twice more expensive than negative to process but then there would be some savings on the Blow-up to 35 mm stage, because one can go directly to the 35 mm internegative, correct? Can grain become more of a problem when blowing up a Super 16 reversal stock than with a negative stock of around the same ASA? What are the reasons there are not many reversal feature films originated in Super16? Besides the fact that it has less latitude than negative.

I would do a zero cut original and optically blow it up to internegative. From the little research that I have done it seems the 7240 EI 125 (Tungsten) would be a possibility. To bad they don't make 5285 for 16 mm. Thanks for the details on Buffalo '66!

Hello, Does anybody know on what Ektachrome stock "Buffalo '66" Directed by Vincent Gallo was shot on? I was thinking about the possibility of shooting Super16mm color reversal for blow-up to 35 mm. Any examples of this that might come to mind? Would this even work properly?

A feature film shot in Super8 that made it semi big, is "I Am Josh Polonski's Brother" http://imdb.com/title/tt0278493/ It found international ditribution and I belive it showed in Cannes film festival. Shot with a Beaulieu 7008pro. I belive the blow-up to 35mm was made from a digiBetacam master.

Generally do most Zeiss 10-100 T2 Zoom lenses match with the older Zeiss Super Speed primes? ? Hello to everyone.