David Mullen ASC

You could Google it like I just did... 1.896 : 1

The full-frame focal length equivalent will always be longer than the Super-35 focal length so you’d multiply to figure out the full-frame value but divide the full-frame number to figure out the Super-35 value. The thing is to be accurate you really have to know the actual width of the sensor area to be used for the final composition... and anamorphic complicates that if you have to crop the 2X image later.

Doesn't look that hard to spin a small DV camera like that -- it looks semi-handheld already. When you said "flawless" I was expecting to see a perfect circular spin like with a Panatate or 3-axis remote head, etc.

Not sure what you mean by that Technicolor rig being too large to use on stage with actors. Have you seen how large a blimped Technicolor camera was?

Yes, it's a 1.3X factor (multiply or divide) but it is simpler to just compare the horizontal view, otherwise if you'd have to be shooting the same aspect ratio on both cameras if you were comparing diagonal view or vertical view, etc.

I think you're allowed to work a few times outside your category before you will be asked to get reclassified. But I don't know the number of days per year you can work outside your classification.

Could be a prosumer or consumer DV camera inside something like a Manfrotto Fig Rig.

It’s either color correction, gels, or camera color temp settings. Warm light is orange but orange can be skewed towards to red or the yellow, sounds like you want more yellow instead of red. That can be done with gels on lights. You could also shift a warm shot towards yellow by adding some green in the color temp setting if it has a plus or minus green correction on top of the color temp setting. Or shift it in color correction later. But amber gel on lights is your best solution. Real candlelight does have a lot of red in it so if you’re lighting with only candles then you’d have to correct some red out and shift it towards yellow either in camera or in color-correction.

All film cameras jam... the only issue here is whether a 765 jams any more often than another 65mm camera, which I doubt, but the only time this is going to come up is if you have to choose between a 65mm ARRI or Panavision camera, which is a choice few of us will ever have to make. But of course everyone should present the facts in this matter for the record.

This whole argument is a bit pointless since almost none of us will be shooting on an ARRI 765 in the near future...

I heard that "Let's Get Lost" was shot on Tri-X Reversal developed normally, not cross-processed.

The thing is that the vertical blur with a mistimed shutter only starts at the bright object and moves upwards if the camera is running forward, the image isn't streaked in both directions above and below the object.

A little noise in itself isn't so bad as texture, just like film grain isn't so bad... but macro blocking of noisy shadows due to heavy compression is quite terrible. 8-bit creates problems of banding with gradients, 4:2:0 creates problems of sharpness/detail in flat areas of color, but compression is the third component to watch out for.

The blacks look normal on my monitor, nothing looks lifted. When digital cameras have problems with reproduction of shadow detail, the artifacts you see are due to compression. Noise isn’t the result of a sensor trying to “make sense” of information, you’re describing a processor trying to compress information. Noise is just due to signal amplification.

It gets confusing to mix up the technical issue of noise or grain in blacks versus the artistic issue of how much contrast or mood to put into the lighting. Not every movie has to be lit like “The Godfather”. But this technical issue of shadow noise comes up all the time and I think it’s because people are either working at too high an ISO setting for good blacks and/or have color-corrected the image with lifted blacks. If the scene has low noise in general, there is no reason why a dark shadow should have more noise any more than the noise should jump up when the character turns out the lights in the room or enters the scene in a black coat. Unless the camera is on auto-gain or something. Shoot a grey scale and select an ISO setting that gives you a noise level you can accept and then light the scene with as much mood as you want. Just don’t change your mind in post and try to lift the shadows, or use the wrong display gamma and end up lifting the blacks. It’s true that noise is made worse-looking by compression schemes.