Christopher Arata

Look at this site these guys make kits, kinda, everything but a housing or box for the actual light. I would recommend getting Kino Flo bulbs though. I have seen some nice stuff turn out by using this equipment. http://ahsupply.com Its funny actually because these guys are a Aquarium Hobbyist Supply site. Best. -Christopher Arata

Maybe you noticed that because it was shot in HD, Genesis I believe.

Look at this page and download his info it will help you get started. http://www.tkcinematography.com All the best. -Christopher Arata

Before The Devil Knows You're Dead...I had no Idea that it was shot HD until I started watching the, The making of. Ron Fortunato ASC, I think did a great job in achieving the look that Sidney Lumet wanted.

Looks great. I think it is a good example of what can be done with just 10min of film, no budget, and creativity.

I don't mind it was worth it! Thanks again Fran!

Funny you mention that because I was think about going there tonight. Indeed a great place!

Hal. I'm glad that you brought this up in response to what I wrote. I actually had written something in there like that and then decided to take it out as I thought one would understand what I meant or was getting at. Looking back on it I should have left it in. -Christopher Arata

You might want to try this...if your meter is both a incident & spot as a lot of Sekonic's are... First take your Incident reading now people will argue this but there actually are many different ways to take a incident reading. I personally prefer to take it of whatever I am using as my "Key" light. Once I get that reading, say its a f/4 I will then switch to spot mode and find something that is of the same value of f/4 in the scene. Then I will press Avg and with my light meter still in spot mode I will go through the scene and see how much over and under certain parts are. From there I will adjust if needed the lighting but generally I come up with what I would like my lighting ratio to be before I start so I have a pretty good Idea of what I am trying to achieve. All the best. -Christopher Arata

I just wanted to thank Fran Kuhn for posting those pictures. I agree with what many others have already mentioned, and I would like to see more of those as well.

This was in no terms just related to Kodak. I only used them in the original post because of what I knew they had done & have had knowledgeable discussions with one person that I believe is a big part of Kodak & a great mentor overall. Fuji in my mind is just as great of a product.

Thats what I was trying to touch at. They do that currently now correct? Its just not generally mentioned. Thanks Tom.

Thats what I thought. Thanks for the feedback.

I was never suggesting that they are trying to stop it completely. Just saying that the company kinda invented the technology, which is funny when you think about it. David, just curious, but do you know or just assume that they already have not done that, spend time in the R&D area? Seem to me that that is not something they would necessarily publicize quickly. Kodak might have a lot more going on than any one knows about, unless every one in the top of the industry knows everything, and I doubt that.

Its neither. Maybe it was a bad title. Like I said it is just my opinion, and there are many more knowledgeable in the subject than I. I didn't see this whole environment thing coming into play though. There many other bigger environment issues in the world than film so I wont touch that subject. Didn't Deluxe just open a full service lab in NY though? As for Kodak making more money I don't know, and maybe they did shoot themselves in the foot in the begging when they made that first sensor. Who knows?

I think this is all very funny. Granted I do not have as much experience or knowledge in the subject as many of you do, but, I do know a few things. First off comparing motion picture to still imagery and the affects that digital technology had there is not a sound argument. There are more hobbyist in the still photography world than there are in the motion picture world. Thus making more sense to why the DSLR revolution came about. Many people also forget that Kodak pretty much invented the first digital camera. So they brought that on them selves. In 1986, Kodak scientists invented the world's first megapixel sensor. It was capable of recording 1.4 million pixels that could produce a 5x7-inch digital photo-quality print. In 1987, Kodak released seven products for recording, storing, manipulating, transmitting and printing electronic still video images. In 1990, Kodak developed the Photo CD system and proposed "the first worldwide standard for defining color in the digital environment of computers and computer peripherals." In 1991, Kodak released the first professional digital camera system (DCS), aimed at photojournalists. It was a Nikon F-3 camera equipped by Kodak with a 1.3 megapixel sensor. Not to long ago I was able to spend a week with Chris Hart who has been the principal cinematographer for the Entertainment Imaging division at Kodak for the past 15 years. I asked him many question about Kodak and the digital world, his answer was simple. Kodak has the top scientist in this field working for them. Kodak has also supplied many of the top companies with digital technology and information. Now none of these companies will relatively admit to this but its true. Also Kodak has put millions of more dollars into its film research and development, because they believe in there product. I am not writing this to spur controversy or start arguments. I enjoy using both formats, and believe that both have there specific place. I just wanted to remind everyone that companies like Kodak thought about this and invested in this technology long ago and continue to do so. In the end I think we will see both products working together, neither one superseding the other. Just my opinion. - Christopher Arata

I agree great info & keep us updated!

My bag of choice is the Oakley large duffel bag. Great and easily customizable. Not bad for $90, durable as hell. Sometimes cheaper on Amazon. http://oakley.com/pd/5047

Thanks Tom. I will look into that AC article. I probably should have seen it in the theater any how. If you happen to watch the DVD though, get back to me if you notice anything strange.

I justed watched the DVD and John Toll certainly did a great job. However, while watching I was often taken out of the story because some shots appeared to have a lot of noise, it started to bug me when they would cut from a nice clean shot to a noisy one and back to a clean shot, by clean I just mean no noise. It seemed to happen a lot, it could just be me being picky or my eyes playing tricks, none the less I know they shot on film but was wondering if HD was also used & if so why did they use both?

Great work Greg!! To me night shots can be hard to pull off sometimes and look natural. I think you have done an excellent job in. I agree that some light on the roof would be nice, but as for the interior shots, very well done and natural.

I wouldn't shoot the light into the mirror, but thats just me. I most likely would, depending on the situation, either bounce the light off the ceiling and skirt that off with some duvatine, bring in some Kino Flo lights and just use those, or if there are interesting practicals use those, or maybe a combination of these. All depends on room size, layout, color, etc.

Actually yes you could import it straight from that drive but I would not recommend it. The workflow for the RED in the begging is really simple actually. At the end of each day get the drive then dump all the footage on to another external drive, I like G-Raid drives but thats just me. Treat the drive as a mag. The RED Drive should be labeled as ROLL ONE the first day and so on. Keep this in mind when transferring your footage, make sure to label correctly. How many drives you need to transfer your footage to will depend on how much you shoot, ultimately you will still want to back up all those drives. Then if using final cut to edit you import it from those drives to final cut, I believe final cut studio 2 already has the RED codec included in it, from there you edit in final cut pro, then you do your Output. And yes you can do this all on set, that is transfer the files from the RED drive to the other external. For backup you generally do that latter and you probably don't want to edit on set but you could start logging all the clips.

Thanks Bill. I took your advice this morning and found out they have a basic MAC pro setup, with a couple external Hard Drives, and was told that they are upgrading to Final Cut Studio 2. They currently do not have any Tape Decks.

Yes the Red One was also in my mind and probably a good choice since I think they want it to be an all digital work flow and not have to mess around with tapes.