Michael Kubaszak

Corey, check out Artemis as well it is a fantastic app!

same here, can't bring myself to finish reading. It's one thing to talk about HD cameras and tests but another to come out and attack film. This guy is an butt. Anyone care to give the Cliff notes?

when you start a message board about your product aren't you inviting all praise AND questions about your product/company and everything that has to do with either? Isn't to your advantage to be honest with the people who purchase and/or use your product? I'm shocked that a moderator on this board would be banned on a cinematography related site. I'm also shocked to see that there was no reason given as to why he was b7.

Bryan, yes they are talking about that. You could have clicked the link and watched for 60 seconds and had the answer to your question. I think it would be almost impossible to do completely unbiased tests. I will say that I prefer film and want it to continue forever(yes I know how this sounds). And as Zacuto's products are specifically for a broad range of digital cameras they do seem to have a bias because if they declare Canon 5Dmk2, for example, they could possibly profit off of that. But one of the things they do keep saying is that film is the gold standard. They also say that invited reps from all of the companies involved(kodak, fuji, canon, nikon,etc.)and only Fuji and Canon showed up. A question I have is they say they were using all Zeiss glass. But is there a big difference in Zeiss cinema lenses and Zeiss still lenses? Would that skew some of the test results?

I was at Zacuto the other day and they told me about the shootout, I was unaware prior. They said they did 2k and 4k scans...maybe they will talk about it in later episodes. I thought they should have put the full res clips from each camera online or at least make it available on a dvd, like it's great to hear respected people give there opinion but I want to make the decision as what looks best to me and I can't really do that with compressed clips.

Kodak and Fuji stocks go up against Canon 5dmk2, 7d,1dmk2, Nikon D3s and panasonic Gh1. All Zeiss glass. http://www.zacuto.com/shootout

What I'm doing for my film(shooting 5000' of 35) is after processing, doing an HD telecine of all footage to a hard drive in pro-res HQ 4:2:2 files. check this out:http://www.cinelicious.tv/?page_id=11

My understanding is that you need to overexpose by at least 2/3's for it to be effective.

what you do when an actor can't hit his mark.

Do those short end/recan places really have more than 20,000' of 35 on hand all the time?

Wow, Karl starting a flame war. SHOCKING!

I was going to try to keep it around 2.8 or 4 for the whole movie. Thanks for that advice. I am doing an HD telecine and the movie will more than likely live digitally forever after that. I'm still not sure if I'm going to shoot only Optimos or both...not sure how wide I'll want to get.... Also the camera is gonna live on a dolly. A rental house is doing me a HUGE favor and giving me the package for free, those are the lenses available for my particular shoot date. I have production insurance and have all pros working on it as well and I'm a 1st so I'm going to take care of gear(it's in my blood :) ).

Would intercutting between the optimos and superspeeds be acceptable?

I'd like to get some opinions on this. I am shooting a short next month on 35 and am wondering which would be a better choice in regards to quality of image. The stop loss and extra weight of zooms don't bother me. Which would be better or which would you choose a set of super speeds or 2 angenieux optimo zooms (15-40 and 24-290)?

I was wondering if anyone could recommend any books on film chemistry. I'm interested in finding out how the emulsion is made what it is made of. Kind of the whole process of how motion picture film is made. Also any how to make DIY motion picture film. I'm curious if it is possible once kodak and fuji go under and motion picture film is a thing of the past and all the short ends and re-cans are like water in Mad Max 2, if making it is a viable option.

That Scarlet came out in 2009 right? :P

On an SR1 mag, 400' daylight spools did not work me. Couldn't close the door. Is 16mm still produced on 400' daylight spools?

well, 400' daylight spools will not work. 100' daylight spools should.

That's where reading everything you can will help. http://www.arri.de/camera/35_mm_film/arriflex_535_b.html http://www.panavision.co.uk/pdf/downloads/...quick-guide.pdf http://camera.manualsonline.com/manuals/mf...group/535b.html http://www.cinematography.com/index.php?sh...529&hl=535b Thread the camera as many times as possible and have the rental house tech show you how first. Also if you can, become really good friends with this tech as you can then have he/she on speed dial and can call them on set when something goes wrong. Also if a 1st you have worked with on the past knows this camera well ask them if you can call them if you have a problem. When things do go wrong just keep calm(like when the RED just completely freezes on you) and work quickly to resolve the problem. Blow out the gate before each reload and check the gate after each important shot. Make sure you know how to manipulate the video assist as well. A 1st told me a story where another 1st lost it on Gangs of New York, where the movement on a 535 locked up while threading and the 1st couldn't figure out and was yelling and proclaiming that the camera was broken and was getting the rental house on the phone, when the loader hearing over his radio what was going on, comes over to the camera (i wanna say) turn the loop knobs and closes the movement and walks back to the camera truck. :lol:

You probably should've found out which camera they will be shooting on, some of the older 35mm cameras are more difficult to thread than others. I would definitely recommend not being the first or at the very least be completely honest with the DP about your lack of knowledge. You need to know everything about the camera, all the stuff Rob said above and knowing how to change everything on the menu(yes film cam's have a menu's). If the camera jams everyone on set looks at YOU to solve the problem 30 seconds ago. If you do just take it and not tell the DP you don't know what you're doing, try to get a few days with the camera at the rental house and ask lots of questions. Also read up on the camera as much as possible, it's not the same as hands-on field experience but it's better than nothing. If it's an ARRI buy the Jon Fauer book for the particular camera(It's well worth the price) and the DVD if it's an ARRICAM.

Yikes, I'd stay away sounds like 2- 18 hour days to me. But for funsies I'd tell them that professional experienced AC's get paid for prep days ;) and that no AC's have reels for their AC work. I also find it hard to believe that if someone would show up there and 'not know what they are dong' that they really couldn't 'send you home' as who else are they going to get DURING the shoot?

if the lenses allow it you should really mark the barrel. use some 1/16 paper tape or 1/32(can't remember) and put some j-lar on top of it and you can mark it with china-markers or the staedlter lumo color pens. marking the focus ring is not as accurate.

http://motion.kodak.com/US/en/motion/Produ...66/tech7266.htm http://motion.kodak.com/US/en/motion/Produ...65/tech7265.htm http://www.tiffen.com/tips_bw_filters.html

That's also the student price kodak offers.