Edgar Dubrovskiy

Wow. Nice. So what did you do in the end - blue-screen type of trickery, or did you go with massive overexposure?

I'm not sure if it will work in terms of realism of a night exterior. But I have shot a car at night - we just stretched a muslin (15 ft above) and shine 2.5 HMI into it. Creates some ambience + a nice thing for a car body to reflect.

Apparently, 17th Nov for USA: http://videoeta.com/movie.html?via=form&id=103564

Yep. That's the answer, really. It's just on some the extra mark was blue. On others - black. Thanks!

Got the answer. http://books.google.com/books?id=r4LgHiMTM...rel&f=false

mm. yes. some Sony broadcast lenses. it's just someone mentioned on this forum because of the size of the lenses, it comes down as more precise to actually measure from front on L series. that's why I'm asking. and what about F and T stops?

Hi! What is idea behind two focus marks on the lens - one yellow and one blue? Is focus measured from focal plane, or from front element on these series? Thanks!

Thanks! Just picked their test DVD tonight. Definitely looks interesting.

http://vincentlaforet.smugmug.com/Laforet-...5820_EeDCa-A-LB rolling shutter seems to be less and less of a problem.

Make sure you start with UNCOMFORTABLE hand position and go to the COMFORTABLE one, as you pull. Will help arriving in the focus in a smoother manner (if that makes sense).

I have a Chinese friend who said that in Beijing film school they train by estimating the distance of a rock being thrown by a tutor.

Just saw the film on London Film Festival. Some very nice dark cinematography in interior scenes.

I had two rolls of neg x-rayed this summer. The artifact produced looked like big blue circle covering almost the whole frame and flashing every 3-4 frames across the whole length neg. Luckily it was two rolls of tests. Safe. But not sure why, on the neg it actually looked like this:

Could white-balancing to the available tubes in the hallway, and then lighting everything from there help?

Haven't heard about it. Where abouts is it taking place?

Problem I see - loosing lots of original footage area.

Loved the film and cinematography. Suited the story perfectly. I noticed the unusual green dots on the still in AC mag as well - the one from the slow-mo Phantom sequence. Is it the same problem?

I would suggest calling Mill or Farm at Soho - they did all my short films and their job and assisstance was brilliant. Usual workflow was: EDL from telecine brought to the post-house, and they just scan and record shot by shot to HDcam. Then I go to FCP, log it (it automatically swaps the old, telecine files to new, HD). Then I burn it to hard drive - just not to loose any more quality - can also be recorded to HDcam (if you have the deck). Bring it back to post house. They grade off hard drive. That's it from my experience.

Thanks loads for your info!

Kodak will sell same day too, just give them a call.

Man, looks really nice. Really. Simple, realistic, 2.40. Nice.

Shot a short this summer - 6:1 ratio. Barely. 2 takes mainly. If saved up on previous shots - sometimes 3 takes. Up to director, really. He has to realise that 6:1 does not imply six takes for each shot. Using re-canned stock - found it ok. But please do clip test it! NEVER shoot without clip-testing. For the same film mentioned - had a batch of 10 cans bought from a private dealer. Shot tests on one (before clip testing) - the whole roll was flashing blue. Turned out, that whole 10 new cans were x-rayed. Only found out after clip testing extra three cans.

I am also confused on neg reports - do labs actually need them? What for? Apart from checking what to do with neg (and they have tech spec sheet for this) and what ASA is the film (why not to check the label/camera tape with info written and attached to the can)?

Absolutely true. That's why I'm doing both :) Thanks a lot for so much good information, everyone!

We will be shooting 16mm. Yes, I'm talking about very subtle, minor shift. So, I guess 'post' is the way, in the end of the day.