Tristan_Nieto

I get alot of questions about the future of film and Digital and the best analogy i can think of is this: You can go out and buy a Roland Digital Keyboard for $3000 and 99.9% of the population will not be able to pick that they're listening to a keyboard and not a live piano. But pianists all over the world still spend hundreds of thousands of dollars on Bosendorfer and Steinway pianos. That's not to say Roland Keyboards aren't any good - they're great, but they exist to satisfy a different market. Film is the only art medium that hasn't had an industrial revolution. Painting had it at the turn of the century, music had it in the 50s and neither medium is worse off for it.

I love the A-minima to pieces. I remember back in high school all the crazy things you did with cameras to weird shots - things you could only do with small video handycams - you can now get on 16mm. Of course, i work with alot of insane directors so maybe my quota for bizarre shots is higher than most. Yeah, the loading is a pain, but that's why we have clapper-loaders : ) Can't say i've shot with the a-cam, But i totally agree with Mitch: A parallax viewfinder... whats up with that?

I've shot quite a few horror films and seen thousands. For my money, anything shot by Peter Deming is always great, in particular Lost Highway and Evil Dead 2. Another film to catch is a recent Australian Zombie film called Undead. It went the other way than most low budget 16mm horror films in that it moved away from gritty and raw. Yet another one of the growing number of films shot on 16 that could pass as 35.

Howdy all... I've got an upcomming shoot for HD and was hoping to use the P+S technik adaptor and probably a kit of MKIII Zeiss Superspeeds. Has anyone had any experiences using any Cine lenses with the adaptor for HD?

Remembering from film school... Aparently Citizen Kane used alot of Mattes and double exposures, each with different focus points set. The famous shot with Welles in bed, the glass of water in the foreground and the door in the background was shot on 3 separate passes, first the glass, then Welles, then the door. I heard somewhere that no one really knows how often this technique was used, but some have estimated that as much as 40% of the shots in Citizen Kane involve some sort of visual effect, mostly done in camera.