Kevin Zanit

Next Friday I am shooting a test of 7266. I'll post the results. Kevin Zanit

::: I haven't come across it::: All lenses breathe to some extent. Older lenses are more prone to this. I believe (I could be wrong) that it is an optical problem. Breathing tends to become more noticeable with larger focus pulls. Kevin Zanit

When I read somewhere that Caleb Deschanel used Caravaggio's (my fav. painter) work for inspiration I knew I had to see it. I am going to see it tonight, should be interesting. Kevin Zanit

I am quite aware they are not TOTALLY different (as you can see, I did not ask the initial question, I believe it was you that kept comparing the two). I feelt that the problem you were having grasping the concepts was because you kept going back to still camera fundamentals, witch apply somewhat, but I find it is better to think of the two formats separately when trying to understand the mechanics (witch I said in my post, they are not totally different, but for all intents and purposes just assume they are). To answer your second question, I am sure John will give you a much more intricate answer, but I know one of the problems is that motion picture film has a remjet backing that must be removed. Kevin Zanit

Just forget anything you know about still cameras. Motion picture cameras are totally different (sure they share some similarities, but forget them . . . it sounds to me you are basing to much on them being similar). Three ways to effects exposure in film cameras: Shutter speed (or frame rate). The higher the speed, the less light the film gets . . . lower the speed the more light. This also is how you make slow/ fast motion effects. Shutter angle. This affects motion blur (and exposure). Aperture setting (actually set on the lens). So if it is a fixed speed and fixed shutter angle camera, then the aperture is the only way to affect exposure. Most people don?t change the shutter speed or shutter angle to control exposure, as this also affects motion characteristics (yes, I am generalizing, of course there is a time when you need to save your ass and changing the shutter angle/ slowing your shutter speed is a last resort). I just hugely generalized above, but you can get the idea. In most cases the aperture is used to control exposure. Kevin Zanit

Thats exactly what I do as well, only I forgot to add that slight detail. Kevin Zanit

It depends on your main light levels (as you discovered). For a small eye light in close up I use a mag light with the lens off mounted on the matte box. But it mostly comes down to key light levels. If you were keying a tight close up with a 10k just out of frame you could use a bare bulb of a tweenie or other small source above the lens and it would not contribute much to the exposure. That?s an extreme example, but the key is just to have a bright point for the eye to reflect. So if you are lighting at low light levels, just ND down a bare bulb (or do the mag light trick). Kevin Zanit

Well the Kinos can be big and hard to work with. But don?t forget that you can take the entire unit apart. Use a single tube on its own, or 4 in the fixtures body. Another thing is that the Kinos don?t have much punch to them. If you already have a soft box, I would lean towards the Jokers (assuming money is no object). Kevin Zanit

Take a look at the Panavision Flare lenses (made for Saving Private Ryan). The idea has been refined a bit more. Not to many exist, but they are around. These have a totally different look to them out side of their flare characteristics (I am sure you know). But if this look suits your taste, and you like how they fare, could be a good match. Kevin Zanit

You could hook the ballast up to a dimmer, that will cause it to flicker (although not great for the ballast, but as someone said on CML "Don?t be gentle, its a rental ;) ) Kevin Zanit

On a side note, if you rent the older Dataflashes called AF100(?) they don?t have the problem of having to unplug them, etc. You can also just use a small DMX lighting controller to program various chases. This gives you a lot of freedom with the strobes. Kevin Zanit

A trick I like is to take a fairly large Chinese lantern with two Photofloods (on two separate stingers) and use two switches (or dimmers . . . or a flicker box for that matter). It works real well in cramped sets. You may want to skirt it off of the walls, etc. Just experiment. Kevin Zanit

I suggested the colors, because that combination will get you closer to that orange street light look you are after. We wanted a 4.0 because the anamorphic lenses perform better at that stop than they do wide open. Are you shooting 5279, or 5218 (or any other 500 speed film)? If you can test a push process, that would be good. You can get away with a 1-stop push without much added grain (this is fairly subjective, so try to test). Kevin Zanit

Getting that stop might be a little tricky. You may want to push the 500 some (what stock is it by the way?) I would not try your idea of bouncing the light, you would loose way too much light. My other problem is with your gel color choice. I have used the following in a pinch: 3 x 1/4 CTS 1 x 1/4 CTO The diffusion is your call. I would use a light diffusion like 450 to just take the edge off the light. I recently did a show on the Colorado St. Bridge in Pasadena, here are some pictures: http://www.silver-gold.com/street/ That was two 9 lights bounced into a silk, and for backlight a 10k way down the bridge. We were shooting Anamorphic (E series), so we were in the same sort of situation you were in. We ended still having to shoot at a 2.8, the goal was a 4.0. Your diagram seems fine to me, only you can decide that sort of thing, but as I said you may want to push the 500 some. Kevin Zanit

If anything, I would bet that the projector was miss framed, not that the mic was actually in the frame (well the safe zone of the frame). Kevin Zanit

Not to mention the staff needed . . . I know most labs keep a chemist onsite full time. Always checking the soup. My uncle works over at Magnofilms (well Lab-Link), I know that lab takes 3 stories in a smallish building. Not a simple process. Kevin Zanit

I second the Wooden Nickel post. I have gotten some real good deals from there (on rentals and sales). I all but cleaned them out of their $20 a sort of roll sale. Also picked up an 8 x 8 solid with a tear for $20, nothing a little sewing couldent fix. Kevin Zanit

:::2.what is difference between super 35mm, anamorphic . . . :::: These are all wide screen formats. Super 35 allows the camera to be fitted with spherical lenses, and through an optical step in the lab is converted to a stretched image. The advantage to this step is that there is a wider selection of lenses; focus is easier (as opposed to focusing in an arc for anamorphic lenses), the lenses are lighter, and they can be used wide-open with less image degradation then an anamorphic image. The downside to Super 35 is that the extra optical step adds a fairly large amount of grain, and looks softer. DI's are allowing this step to look a little better, but to my eye not nearly as good as anamorphic. Anamorphic is also a wide screen format. This format uses lenses that cause a stretched image to be recorded on film. This is done by adding either a rear or front anamorphiser to a spherical lens (or some are built around the idea that a anamorphiser will be added). This method results in a beautiful wide screen image. The downsides are listed above. ::: can we shoot same movie with spherical and anamorphic lenses? if so what is the procedure during post production ::: I suppose you could, but I can not think of any reason to. You would just need to go through the Super 35 step for the stuff shot with spherical lenses; also you would need a different camera, one that is converted to S35 and another that wasn?t. The problem is that the footage would not really cut together (due to the grain differences). ::: how can scope or 70mm movies can be viewed in TV in 35mm format? Will they crop corners of the frame? Sorry for taking tour time. ::: Through an optical step the 70mm (well actually 65, and 5 for sound) would be down converted to 35. This usually results in great looking results (comparing to 35 originated material). For TV the image could either be letterboxed, Pan & Scanned (sinners!) or just cropped altogether (evil!). To be honest, I cant get as detailed as other members will, so hopefully my answers will suffice until other, more qualified personal chime in. Kevin Zanit

Transfer at 30fps if you want it to look/ sound "normal". If you were to transfer at 24 your motion would be slightly slowed down. Kevin Zanit

This is what he has done: http://imdb.com/name/nm0143780/ If I remember correctly, Six Feet . . . is shot on 35 useing Panavision equipment. Kevin Zanit

They call it the PFX System 65. I have seen it once when I was in Woodland Hills a month ago. It rents for $2472 a week, $824 a day. Kevin Zanit

I have no idea what ASA the film was back then (I would guess around the 25 - 50 range). No doubt a ton of light was required. I know Toland used for most scenes a cluster of arcs for every place he would normally use just one. Also, remember Welles was a theater director first, thus he already had a firm background in blocking, and set design. I am sure someone else on the board could tell you more specific details of the film back then. Kevin Zanit

Contact Panavision . . . I would bet money they would let you practice flying one of the emergency cams they have on the floor. That mite give you a decent idea what it is like flying a film camera (except for the fact the mag would not have a full load, and you would miss out on what it is like have the weight slightly shifting during the take). Kevin Zanit

I think it would be cool, at least then Robert Rodriguez couldn?t bitch about not being able to see film results instantly. I am sure there are a 100000 reasons why this couldn?t be done, many of which John could tell us. Kevin Zanit

I doubt that the rental house would pay for your re-shoots. That is what insurance is for. The most I would expect the house to do is possibly give you a deal on the equipment (or free) for the re-shoots. Kevin Zanit