Ravi Kiran

Saw this on Twitter:

Perhaps the American Genre Film Archive in Austin would take those films and equipment off your hands: https://www.americangenrefilm.com/

Is this getting any 70mm IMAX prints?

I don't know what kind of look you're going for, but shooting on MiniDV would get you an SD look without going all the way down to VHS quality. And if you use a professional or prosumer MiniDV camera you can manually control aperture, shutter speed, focus, and color temperature. I don't know if your S-VHS camera has that ability. You could also look into recording from a Hi8, VHS, or SVHS camera to an external recorder like an Atomos Ninja and bypassing tape altogether:

Some of the films with 2K DIs went though 4K rebuilds from the negatives for the UHD releases (a few Sony releases that I know of), but the majority of UHDs for 2K DIs are upscales. Even so, they benefit from the larger dynamic range and color space and better compression UHD provides, versus Blu-Ray.

How does the variable ND work? I couldn't find any specifics other than it not being polarizers. Are there any issues such as color shifting with the variable ND?

The IMAX reasoning for presenting it at 4:3 seems like a retroactive justification since it was originally framed for 1.85:1, according to the DOP. Plus, I can't imagine that 35mm blown up to a true IMAX screen would look great, if the presentations I've seen are any indication. If IMAX was the intention from the start, why not shoot at least some of it at 15/70, or on a 6K/8K digital camera? For those who have seen the Snyder cut, does the framing look like standard open matte framing, with excess headroom, above the 1.85:1 area?

https://britishcinematographer.co.uk/fabian-wagner-bsc-asc-justice-league/ I'm assuming that the IMAX version would have been opened up to 1.43:1. Maybe they did some reframing here and there for home viewing.

David Mullen is the guest on the January 24th episode of Team Deakins. It's always enjoyable and enlightening to hear what he has to say.

How Films were Made and Shown The Dawn of Technicolor

The interview I posted above has the answer: Filmmaker: The first night or two after Guava Island released on Amazon, I saw people on Twitter talking about the beautiful 16mm cinematography. Then when I watched the movie the credits say you shot on Alexa LF. I have to admit, you fooled me. I would’ve guessed it was film as well. Did you consider actually shooting on 16mm? Sprenger: We did talk a lot about shooting film. It felt like, aesthetically, it made a lot of sense [as opposed to] a clean digital aesthetic. But, again, importing/exporting was a huge issue. Even when we were traveling with hard drives we got flagged by customs for bringing in multiples of the same hard drive. We were really concerned about the idea of traveling with all of the same film cans or having to fly someone every day with a few new cans. We really couldn’t wrap our heads around how to safely do it.

The only film I know of that used a film-out to get a film look is "Guava Island," but I'm sure there are others. See this interview with DOP Christian Sprenger for details. The TLDR version is he shot on an Alexa LF, did a film-out of the log image, and did a DI from a scan of that film.

Does anyone know how up-to-date this list of worldwide 70mm and IMAX screenings is? https://www.in70mm.com/news/2020/tenet/index.htm

I recently watched "Little Fugitive," a 1953 film that was an influence on the French New Wave. Morris Engel's handheld, run-and-gun camerawork is simple and beautiful. The doc about Morris Engel on the DVD mentioned a specially designed 35mm camera. Does anyone know anything about the camera or have any pictures of it? I couldn't find any pictures or details about it. I assume that to reduce the size it didn't have a sound-blimp, and maybe it had a smaller magazine?

Some of the crew protocols will probably be easier to change than how to block and shoot actors and extras. What do you do about scenes in which the actors have to be very close to each other? Does this require a fundamental re-thinking of how to shoot such scenes? It seems that creative decisions will be affected, along with overall production logistics.