Jesse Lee Cairnie

I am looking to do some research and tests to learn more on the workflow of the D21. I was wondering if anyone might be able to post a link to an ARRIRAW file from footage they have (If thats even possible). a quick 30 sec would be perfect, just to have something to work with. I have everything I need except the footage. Thank you.

I am looking for the names of makers of 16mm Anamorphic lenses. Thank you.

cinelicious is how I found out about U16, they are in LA. http://www.cinelicious.tv/

I have a day exterior coming up.. I was thinking about using corrugated steel as a bounce.. has anyone tried this.. I was also thinking to spray a light mist of glossy color paint to add a hint of what ever color.. The story is of strange children that see the world in a sort of nightmare.. so thinking this might spice up as an interesting key texture.. any thoughts, comments or information would be super, any ideas for things that you've tried, etc.. Cheers

hahaha.. agreed.. if anyone has actual footage of any of these ridiculously awesome ratios or tests or anything of the like.. please try to post some fun stuff.. IM looking to do some test coming up.. i'll surely post my results.. Im looking more at in camera film ratio's.. (my buddy did a spot for Walgreens online.. they shot every aspect ratio imaginable for online banners, but it was all masked monitor digital) Cheers!

5 perf 65.. 52.48 by 23.01 mm = 2.28:1 23.01mm/5 = 4.602mm 52.48 by 4.602mm = 11.4:1 11.4:1 x 1.25 = 14.3:1 11.4:1 x 2 = 22.8:1 so depending on the squeeze! either way.. hahaa ULTRA SUPER TECHNIPANAVISION DELUXE!

Hahaha.. 5.32.. wow.. thats awesome.. I will surely ask Bruce about that.. Im definitely only seeing it as a digital distribution.. online, DVD, Digital projection, etc.. As for motivation for it.. I would say anything you would want to see in a completely different way than you are traditionally seeing it.. maybe the transition of a character to a new world in scifi/fantasy.. maybe for example in Being John Malkovich, when ever he goes into the tunnel and into Malkovich's mind emphasizing the DRASTIC change of the characters world.. maybe using it to further emphasize the reasons 2.35 was being used originally as we have all now "gotten used to" the idea of widescreen and its sub-conscious affect on us as a viewing culture isnt the same as when the 1.33:1 was the standard.. cause if my film history serves me right.. it was to give a different "view" from the 1.33:1 TV's that were becoming popular.. which now with HD as the standard 1.85 is in all of our homes.. then after some experimenting maybe desovering its emotional impact on the audience.. then using that as a new tool..

I am interested about seeing if anyone else has had the genius idea of putting anamorphic glass infront of 2-perf 35 and would be willing to admit in public.. hahaa.. I emailed Bruce of indi35.com to which he had not seen, but did mention a super wide 4.7:1 aspect. I am intrigued at the "functionality" of this aspect as a DI format for online or straight to DVD option.. I can't imagine trying to fit it back on to 35 "in aspect".. and doing a 70 optical print would look pretty horrible im sure.. Im speaking strictly on an experimental level.. though it would be interesting enough as a feature format if a high enough scan was possible.. maybe for the right story? Ultra Techniscope on digital projection... maybe?

Thanks John for that update, though most unfortunate... I do have an update.. maybe its already known... But I sent an email to Fotokem.. their large format technical director Vince Roth was wonderful enough to get back to me.. here is what he sent me... "We are currently only able to do 6K scans of Vistavison at this time, which could go into a DI process, and we could film out to 65mm neg if required. We can also make 70mm optical prints. We are also able to telecine the material which we would be able to do in one of our telecine bays. As a side note the aspect ratio of the vistavision frame is 1.5:1 while the 70mm 5 perf frame is 2.2:1, so you would either be losing image on top and bottom, or would have a window boxed image in the 70mm frame." So it looks like Fotokem is the place for vistavision post... also Clairmont Cameras have put their Vistavision cameras out to pasture of the sales department.. I'll report as I learn more.

I have recently become very interested in VistaVision and wanted to follow up on your posts to see how it has been working for you. Have you found it to be worth the effort? I would love to learn about your workflow.. I have a lot of questions..

A friend of mine and I were chatting opening sequences.. Pre Title sequences to be exact.. what are your favorite "before the title" sequences.. Cheers!

There in lies the problem... what makes an "educated" cinematographer so much better than an "uneducated" cinematographer... Some of the greatest minds and most important discoveries in history have been developed "stumbling around in the dark." As it seems to be a trend in most art/craft... people think its where they went to school or who they studied under... and I call B/S... its what you bring to the table that matters... Doyle talks about in his interviews and the documentary posted earlier that he brings "real life experience" to his films... the daily encounters and experiences of his life to each film... hence why his work is so "inconsistent" because he is always changing and growing as a human being, therefore his art and technique is always changing... People also forget that its not his first picnic in the park.. its not like he shot Hero the year after he graduated high school after he "stumbled upon cinematography" and now everyone praises him... he has been growing as an artist and "studying the craft meticulously" for almost 30 years... Do people also not understand the some people in the world are just "inherently" good at something... like Labron James... an 18 year old child who comes in and dominates 20-30ish pro players... he had no "formal" education in basketball... he just worked hard and had a passion for the sport... turns out he was pretty good... Chris Doyle stumbled upon a camera and developed a passion for it and has been working hard ever since... turns out... he's pretty good... so to the nay sayers of Doyle and his work... I leave you with a quote "Shut the f*** up and go shoot something!" - Christopher Doyle

I say... Best Porn Cam... Arri D-21... M-scope with anamorphic lenses.... mmmmm.... anamorphic porn.... hahaa... yesssss

The first part of my statement "cause we know its ALL about technology" was sarcasm... my comment about Deakins was the supporting comment... aka... technology is irrelevant... its what you make with what you have that is relevant... Has anyone read the American Cinematographer where Deakins talks about technology... he basically mentions that he was conversing with Conrad Hall about photo technology. How Hall loved and embraced digital technology, how the new technologies provide even more options to add to the tool box, how clinging to the past will leave you stuck. I cant recall the exact words or the exact issue but... what does that tell you... THE cinematographer that everyone wishes they could be, would totally scrap film if he could.. would take a totally digital work flow and abandon film if it suited his story... I think people who cling to the past and latch on to what has already happened "in the glory days" are like the 40 year old High School Quarterback who still talks about "That one play." You know "Uncle Rico" of Napoleon Dynamite fame Why cant we as filmmakers move on... yes Citizen Kane was the most beautiful film ever... Yes Casablanca was the best script ever written... good for them... lets move on and move forward... lets make contemporary narrative films on digital cameras... lets push and grow our craft into the next generation... Cause as much as we all like to think we know so much... Conrad Hall walks into the room (figuratively) and suddenly we all feel like Film School Freshmen also figuratively)....

I say we go back to the good old days... who needs technological advancement... cause we all know that no films are near as good as the old ones... whose with me!! REVOLUTIONIZE THE INDUSTRY!! BRING BACK TECHNICOLOR THREE STRIP!!! Cause we all know its ALL about the equipment not the maker... Deakins would make better movies with that DSLR setup than most people with a Panavision... so who cares... really...

Hahaa.. Thanks! The Red sticker was a blade machine that takes paths and cuts the vinyl. I made it back in Hign School and found a great place for it. A tribute to one of the greatest Heavy Metal guitar players of all time, on my second most prized possesion.. well until my computer crashes.. then it becomes #1.. hahaa.. the other ones I just used scissors and some patience.. I need to find more color stickers.. I know one thing.. if it ever goes missing.. it will never be confused with someone elses.. hahaa

This is my exact situation.. I am 26 and in my first semester at film school in a cinematography concentration.. I have been shooting for 5ish years but am going back to school get access to knowledge and equipment I couldn't otherwise get a hold of.. The one thing people have to remember is cinematography is much like the career of photography and residential painting.. yes house painting.. for everyone that decides he is a cinema/photographer/house painter... there is always someone who needs someone with that skill.. if you are good, people will call you back.. if you are not.. you will find your place.. some might call that natural selection.. So as cinematographers.. we shouldn't complain that there might be too many "want to be's".. we should embrace and welcome anyone who says they are a cinematographer.. It will only expand and enhance our profession our knowledge and our skills.. any body can say they can do anything.. its the people who actually can do it, will... but that's just my opinion..

Too funny Mike! I love it! Spectra IVA yellow with a nice little sticker collection all over it.. eventually it will be covered.. dont need anything fancier if you can add in your head.. I do have a funny glitch in mine and have to press the button twice to get an accurate reading.. anyone else have that problem..

Yeah.. I've had a similar experience.. I must say that looking back on it.. me getting fired was due to my inability to be a yes man.. I was working on a project as a boom op.. the camera op was an amateur E.N.G. operator making the transition to film.. so the concept of consistent frame lines and "cohesive working relationship" that boom and cam op must share.. was non existent.. therefore all MY fault.. after my mixer wouldn't back me up and everyone started to insult me cause "the boom is always in the shot".. I began to loose my cool and make snide remarks.. soon it lead to "frustrated discussions" on set.. which I must admit.. NOT professional.. therefore.. fired.. and thus my lesson learned.. turned out the sound mixer was a very well connected man and it was my last picture as a boom op with anyone he knew.. :( There is a fine line with standing up for yourself. If your not careful it will be misconstrued.. keep the mouth closed and nod your head "Yes".. if that becomes difficult.. walk.. my pride cost me more work than if I would have walked.. but those are painful lessons we all learn.. needless to say.. my onset demeanor has forever been altered.. no problems since! hahaa

I wouldnt go as far as saying that.. good composition is good composition.. no? I think us 'younger people' just havent been as exposed to that ratio as much as 'not younger people' therefore 16:9 has become an aesthetic subconscious. I know it is in my case, as I do prefer it, as I'm sure most cinematographers do, unless a story totally calls for otherwise (please correct me if im wrong) That and I'm always looking to push my skills to doing as much in camera as possible. I figured in camera "widescreen" would be an interesting feat to undertake. come to think of it.. I could try some tape on the back glass. see how that turns out.. maybe throw a little shmoo on it to for some sexy.. the gears are turnin.. I'll post the results.. Cheers!

Thanks for the help guys, thats what i figured. so I'm just gonna shoot it full frame, better safe than sorry. also I wont be able to test it.. and wont be able to modify the negative in any way.. I will be able to telecine after the project is over for personal use.. which is what I will frame for.. thanks again..

I am doing a s16mm project for class and we are editing on raw film.. since we are not using computers I cant put a letterbox on the final print.. I have decided that placing Electrical tape on the lens will give me the desired effect.. there will be no focus pulling.. has anyone done this before? does it look good or like tape on a lens? Is there any image distortion on the tapes edge? does the lens have too much "give" to maintain its "levelness"... I would love to test it.. but I will not be able.. Thank you

Well.. I think that the man lives his life the way he wants.. sure its eclectic.. sure maybe he does and says things people dont like.. but like his point of view on film.. he doesnt see the film.. he sees the people behind the film.. I think that is what people are doing.. people are looking at what he's doing.. not looking at who he is.. I think if everyone here stopped looking at him and looked into him.. and tried to understand that.. you wouldnt be critical of anything he does.. you would admire the man as much as his art.. infact I would goes as far as saying that you would be quite jealous and aspire to live your life as he does.. expressive and free.. a beautiful human being living life beautifully.. if you cant express yourself through life.. how do you expect to be able to express yourself through art.. Chris Doyles life is his art.. I doubt many of you can say the same.. and as for his and anyothers use of drugs or drinking for expression.. who cares.. really.. let people live their life.. cause we can all one day get hit by a bus..

I know that there are some amazing Cinematographers that have graduated from there.. Jeff Jur ASC (76'), Janusz Kaminski (87), Mauro Fiore ASC (87) and Robert Benavides (92).. the school has a consistent top choice for Student ASC awards and Student Academy Awards.. so I'd say though no school can be the best school in the world.. Id say columbia has a strong track record for a successful education in Cinematography.. Its why I'm going..

my two cents.. It cost me $2,000 and my job to PA on my first feature for 5 weeks 5 years ago.. I've also had to be homeless for a project.. Finding that right project is a gut feeling.. You never know whose pulled a favor for a favor.. film is a small world.. Your success will revolve around relationships, not money.. You will do what you have to do to ensure your success in fulfilling your dreams.. Best of Luck