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About Nathesh

  • Birthday 10/02/1982

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  • Occupation
  • Location
    Chennai, India
  • My Gear
    Panasonic HDC-SD60
  • Specialties
    Movies, assistant director
  1. :D :huh: :o I read the interview on this website for ASC and the movie's DoP mentioned that even though the film had DI finish he tried always to achieve the look of the film while shooting itself. Check the website. Cool interview. He explained all the good technics he had used ...
  2. :unsure: :rolleyes: I don't get it all. You have done your offline right. Your whole feature does not run a full 50000 ft I presume. The final edit time for Online frames storage. How long is it?. If it is some 90 to 100 min it is going to take about some 2to3 TB if you get your work scanned into dpx files. Say one frame of 1920x1080 dpx file will hold upto 10 or 12 MB. You do the math for the total running time. You can either process them on some Online edit machines like Smoke or Lustre or keep them stored until you could get a deal. I do believe cost of 1 TB hard drives have come down. Or have them converted into D cinema or E cinema. D-Cinema is a minimum standard defined by Hollywood where 2K or 4K resolution projectors are used with defined contrast ratios, brightness on screen and color gamut. Compression is in JPEG2000 at 250 Mbits. The Digital Cinema Initiative (DCI) defines these specs. D-Cinema Customers include cinemas that play Hollywood content across the world and multiplexes and popular cinemas in top cities. They use also VC-1 or wm9 codecs too. E-cinema is a stripped down format that has resolutions for 1.3K. It is used in smaller theatres. Both these cinemas use DLP projectors for display. Eg Barco 2K or 4K projectors. The cost of getting your film into this form is 6 or more times lesser than getting into film print. I may not be entirely correct with the above data. Others do help to correct this.
  3. :unsure: I am aspiring to direct a film and I am just doing my home work on "the suppose to be look of my film". Obviously I am going to get a very tight budget. The story is about two entirely different people. I know I am going to get lights and utensils that are years older and will be forced to work with hand me down film stocks. Here arises my problem. I have decided and will convince the producer to use Kodak Vision 200T and Kodak Vision 500T, I have read a lot about their features and reviews. I did make up my mind after watching "Casino Royale (2006)". Phil Méheux, BSC has used them saying he has much more experience in Vision 500T than Vision2 500T. They shot the film in Super 35mm and then did a DI. I intend to do Super 35mm with 3 perf and do a DI. I know I need to make use of the available or natural lights to optimum. It is just this Can the film be shot normally like any other low budget film and the richness in color and contrasr can be added later in the DI process without doing any changes while the shooting process. To do so I would also like to know how to plan my film according to the less fancy lights. There are not going to be any grandeur action sequences except a few hand to hand combats and the story pretty much happens in the city. Are my stock selections OK? Please I would be glad to hear some advice ... B)
  4. :rolleyes: B) Hello, You have noted that the vision 200T is a discontinued stock... But the kodak website says only the 16mm vision 200T is discontinued, they are still having 35mm vision 200T as a color negative film... Please say more this... Have they really discontinued the stock
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