Spencer Hutchins

Thank you David, very helpful.

Would you suggest changing anything else to assist the workflow?

I'm shooting a short in the next few weeks and the director and I believe it's content should be told in the scope of 2.40.

We will not be able to shoot with anamorphic lenses, so our thought is to shoot wider than we would normally, cropping the tops and bottoms later to achieve the crop.

Unless there are better suggestions from you fine folks to achieve the result we are looking for, my additional thoughts would be to shoot 6k (RED DRAGON) and finish in 4k, which would give us the additional field of view on the horizontals adding to our cheat of the anamorphic format.

I'm completely prepared for someone to point out the faults in the ideas above, but in case they are correct here is my actual question.

Would I be safe in relying on the 2.40 frame lines in 6k when we end up finishing in 4k, or should we compensate one way or the other to make sure the framing translates properly in the end?

Thanks in the advance!

Would love some feedback.

www.spencerhutchins.com

Someday Tom, someday ;)

A little more quality here, dang facebook compression!

http://www.hylensystem.com/

Would any of you experienced fellows consider using this device? Does it really give us an advantage over doing it in post?

Great thread fellows! These stories are very educational for someone interested in being a 1st AC like myself! Anyone have more? Keep them coming!

No plans for modern anamorphic lenses?! I expected more from you Chris! ;)

I realize that aberrations, distortion and lateral chromatic aberrations vary (as far as presence) in between the two, but as far as quality in the 'de-squeezing' stages the quality lost would be the same whether you used horizontal or the vertical options?

Thanks again Chris :)

Oh I see, understood. Looking forward to the drawings!

It gets unsqueezed exactly the same way it gets squeezed.

Indeed it does Chris, I believe I understand that much better now.

Take a look:

http://www.panamorph.com/Technology.html

This link was very helpful in the explanation of how anamorphic images can be created by both horizontal expansion and vertical compression.

So as I understand it, Cylindrical Pair Anamorphic Lenses are used to horizontally stretch the image, whereas Prism Pair Anamorphic Lenses are used to do the vertical compressing of images. Now the horizontal stretch of the Cylindrical Pair Lenses make sense to me, but I still do not see how the vertical compression of the Prism Pair Lenses work. Since this process is not gaining any horizontal view, is the entire image somehow magnified to fit the 2.35:1 format? If so, doesn't this reduce the quality of the image drastically?

Also, if the Panamorph Lenses are using optics from both of these other optic systems (Cylindrical Pair/ Prism Pair) what then are these lenses actually doing..the horizontal stretch or the vertical compression, or both?

Have either of you used these Panamorph Lenses before?

Thank you both again gentlemen. :)

So if the final projected image becomes 2.40 : 1, that means the projector is using a 1.20 : 1 gate, but the 1.20 : 1 image on the print itself has a 2X squeeze to it.

Most of this matches how I 'assumed' it worked, but still cannot quite comprehend how the projector accomplishes this 'de-squeeze' I guess. I understand that it works, but just have a hard time understanding how it works.

Thank you once again David. :)

A lot of that is foreign to me, so I guess in general..all of it :)

For some reason I can't quite wrap my head around the 'squeezing' of images while shooting, and how that relates to the final 'unsqueezed' image we see after post.

Anything on the subject would be appreciated!

Sorry, miss read your post.

What's noticeable to me is that some of your windows are completely black, whereas a sunset to me would still have grass, chairs, etc. from outside more exposed.

What were you white balanced too?

The jib arm is a good 19ish feet, definitely not something I could whip from. Seems that the hyperfocal distance would come in handy during many situations.

Andrew, are you referring to Marc Bucksath, I have yet to meet him but will enter the 2nd month of the class next week.

Thanks again for all the feed back fellows, if there is more keep it coming.

My assumption is that a 'French' is a board of sorts you attach on the side of the camera (next to the focal plane) so you have something to point your laser tape towards for a reading?

With a whip, can imagine that being irritating. Luckily we will have a remote focus available.

Thanks Chris, valuable information as usual.

Yup, so I'm 1st AC on our 35mm project and will be needing to be 'Pulling Focus for Complex Jib Movements'. I have never pulled before using a jib.

Any tips, tricks, suggestions?

Thanks in advance.

Spencer Hutchins

Good deal. Thanks for the replies everyone!

I post this only because it was one of my first attempts at

pseudo-HDR

I think it probably has more to do with the tendencies of music videos to shoot an absurdly large amount of material. The more one shoots, the cheaper an electronic alternative becomes. Not to mention the fact that music videos never have to be concerned with a theatrical release.

Definitely concur here.

Shooting ratios have to be one the top pushing factors in an HD/Film battle for music videos, commercials and such. Just got off a 30 second Disney spot for the new American Idol Experience where the budget was available I'm sure, but was still shot on the Genesis.

FYI do not use gen lock.

Is this strictly when using 'Clockit', or in general. Why?

Thanks Jonathan and Chris, I guess it is the 2nd AC's job to make sure there is that back up, until of course your asked not to do so.

Again, I have never had the opportunity to work with the 'Clockit' device Jeffrey, but it seems like it's worked for you. Great insight, thanks!

I don't claim to know anything about the DGA, but a buddy of mine is also applying for the DGA Trainee program and has spent some time with a local AD who is in the DGA. And according to the AD your grade isn't based upon the percentage of the questions you get correct, but rather on how well you match the scores of the AD's in the industry now.

Again, I'm not an AD/DGA applicant, just what I've heard from a professional.

If they used a device like clockit, then they needed no slate. If there were shots that they used the slate it meant that for whatever reason the syncing device was not connected to camera and sound, or the camera was in variable mode.

I don't know much about the 'clockit' but does this external tool really work? (http://www.cinematography.net/edited-pages/Clockits.htm)

And the spot had no dialog that was recorded by any independent audio system. The only audio happening was a song that the talent was lip singing, which would be overlaid in post. So I couldn't find a reason for any syncing.