Manu Anand

Congrats Oliver and Sebastion Have just taken apart my f3hp . mmmmmmm. Aaaah the waist level viewfinder .mmmmm To use my nikon primes(bliss!!!!). My connection was too slow wasnt able to look at the quicktime file. The smooth edges and non video-ish look have me intrigued. Manu Anand New Delhi

Thank you all so much thanks for the link John Please excuse the delay in replying and thanking you all. As i am quite sporadic at checking mail especially if i get busy, please don't construe this as being ungracious on my part. i truelly appreciate all that people do here on this forum. Am going to make more time out to be able to reciprocate in the same vein(give people more of my time here) and start posting on the off topic forum :P maniacal laughter follows Manu Anand New Delhi

Saw Lost In Translation and to say the least was a bit disappointed. Maybe i was expecting way way too much, but to me the film had some nice subtle moments and great observation but somehow it just didn't keep me interested. I kept thinking of Aki Kaurismaki. When i saw "The Man without a Past" it totally blew me away, so so subtle, subtle to the point of making you cry and smile at the same time with its sincerity and sense of humour and not for a moment do you lose interest. i dunno just left me wondering "was that the best script from hollywood? Manu Anand New Delhi

Sorry folks i wasnt able to respond earlier as i was away on a shoot The camera im trying to use this with is an Sr3 I did try looking up on for pi and requiem but there was nothing i could get on the net in terms of a bit more detail on the mount ...etc Thanks John i'll get the Dvds and have a look at the production footage Manu New Delhi

I'm shooting a project here in India and the director has a sequence in mind that requires us to shoot with the body mount. the problem is that there are none available here in Delhi. So ive been working on fabricating one. Here is the glitch. I have searched and searched the net for pictures of DIY body mounts,etc but have found only one picture ,that of the doggicam body mount. Hope im not infringing on any patent though Anyone out there who could help.............. Manu New Delhi

You dont check your mail for a couple of days and a topic which i thought was closed. TAKES OFFFFFFFFFFFFFFFFF :-) Ultra definition it does seem to me sometiems that your employed by some digital mafia :P spreading the digital gospel throughout the world. Manu"not a digital or film evangelist just a cinema evangelist" Anand New Delhi

Is from India and knows and loves Indian Cinema even when its crap :P Recently the adaptation of "macbeth" - 'Maqbool" was a pretty decent film. But the rest aaah the lesser said the better. Not to sound elitist or anything but i do love i really really do love the odd song and dance routine :) Manu New Delhi

Leon, Andrei Rubylov is the film with the great opening sequence of a hot air balloon, and the climactic finish with the bell...and then the montage of colour ;the paintings of andrei rubylov I didn't find a site on andrei rubylov and the konvas but here's an interesting interview with Vadim Yusov the cinematographer for all of tarkovskys films beginning with The Steamroller and the Violin all the way through Solaris http://www.ucalgary.ca/~tstronds/nostalghi...pics/yusov.html Manu New Delhi

Enountered this problem once while shooting an alphanumeric LEd display(it was ancient) and unfortunately no amount of playing with the clear scan let us remove the kaleidoscope effect. here are some links that should be helpful in understanding how LED display technology works. the first link is a glossary of terms often used when discussing LED tech stuff http://www.chadmark.com/dictiona.htm the second site throws some light on how they work and how new LED display are being designed to ensure that they can be shot on video without a problem. http://www.phpcom.com/Pages/led.html Manu New Delhi

Dear Andrew David is correct when he says its two flashes per cycle so an HMI operating on 50 hz flashes 100 times/sec and one operating on 60 hz flashes 120 times/sec Your camera has to be crystal controlled and a frequency meter should be keeping an eye on the AC supply so that it stays as static as possible. a lil research to refresh my memory - So a sub multiple of 100 frames per second must be exposed to get a whole number of shorter than 1/100th of a second flashes and that would give you even exposure from one frame to the next.so the safe speeds that you can shoot on are therefore 100,50,33 1/3,25,20,16 2/3, 14 2/7,etc etc (dividing 100 by 1,2,3,4,5,6,7,8,9,10 etc upto 25) to give you a slowest speed of 4 fps without a flicker problem. Manu New Delhi

Dear John, The logic that i was given by the DP as to why the bar when not seen on the video assist wont be seen on the film as well was that when the blanking pulse is out of the frame(top or bottom) it stays out on the film side as well; regardless of whether it was a beam splitter or a reflex system (this he said was his experience), and it did work. But i do understand what your saying, and am in fact intrigued. Off to do some research Manu"sometime forgets that WYSIWYG doesnt always hold"

Dear Bobby, Whenever we have had to shoot a TV in India or had the Tv as part of the frame we have kept the frame rate at 25fps and the shutter at 180 degrees. you keep the shutter at 172.8 when your shooting at 24fps becuase then your shutter speed is 1/50th which is the same frequency as the Pal signal 50 hz(i hope my calculations are correct) :unsure: the easier method has alwasy been to just shoot 25fps at 180 degrees Now it does work on a hit and run method because you will get a static bar(which is the blanking pulse)but that static bar may still be seen on the TV. The idea is to not see the bar at all, this is done by hit and run. Once the bar becomes static you have to switch your camera on and off(in case the bar is in frame) until the horizontal bar is not in your frame. check this on your video assist, but remember each time your taking a shot you will have to ensure that the bar is not in the centre of the tv. Just by setting 25fps and a 180 degree shutter doesnt ensure that the bar is not there. We had no access to an ESU in Delhi so we did things the hard way but it worked fine , although we lost some footage ensuring the bar was not there by having a few false starts at the beginning of each shot in which the Tv was in the frame. Manu New Delhi :unsure:

Thanks Rob for the clarification Manu

Thanks Bob, This was shot with a prime lens Manu

Dear Friends, I am not sure about this , but a while back i heard this rumour that kodak is stopping all R&D on 35mm still photography films???????? Fuji on the other hand if im correct has gained quite a bit in the motion picture negative world from research done in the still photography negative world Now I'm not sure what the implications are of this i hope this doesnt mean motion picture films follow suit in a while. And like Arri no more R&D in film(analog) related equipment ?? Manu Anand New Delhi

Dear Friends, Have used a 150 watt metal halide HQI light as a poor mans HMI. The light does have a slight green cast(and shouldnt be used without a Uv filter), but the light output was great. I'm sure I'm not alone in this . Would like to hear from all of you on the HQI lights. Ive tried looking for technical information on the net on how its different from an HMI what HQI stands for, flicker issues with it... etc. Thank you Manu New Delhi

Dear Friends, I recently worked as an AC on a feature film shot here in India on super 16arri hsr3 using vision2 200T and 500T stock. We got the rushes back a while back and there was a problem with one of the scenes. In one of the shots we let the sky burn out a lot. Now what has happened is that there is a light leak of the burnt out sky which was on the botoom of the frame onto the top of frame of the next frame which was a dark green tree. I have personally experienced this problem during still photography especially while using wide lenses in shots in which the sun is just out of frame. The light leaks onto the next frame especially when one keeps the sun out of frame on the right. The reason why this happens i think is due to internal reflections in the film itself that it spills onto the next frame as well as the light being so strong it passes through the anti halation backing and reflects back onto the next frame. Also i think its got to do with the angle at which the strong light enters the lens. Am I on the right track? This has been my reasoning i would appreciate it if all of you could share some of your experiences with this phenomena so that we could all understand it better. I did search on the net. In most of the photography mailing lists they took it as something given, that happens, but what im looking for is a reason why? Thank you Manu New Delhi