Andrew Greenan

It appears that most of the additional mounting brackets only allow for tilt adjustment, and not for panning. I would imagine that the pan is more valuable. Any thoughts?

Hi Tim Any chance they're still available? Regards, Andrew

hi there. i'm playing with the idea for a music video of seeing loads of practical bulbs in shot, in a dark space. i've noticed that this will tend to cause flare. if i dim them down, and have enough, could this help to reduce flare and still give enough stop for the artist's face? and would using a polariser reduce lens flare at all? in The Sultan Sea, there is a scene where Val Kilmer's character is buying a gun. the camera tracks past a lightbulb, which just glows white, and gives no flare whatsoever. Could the bulb be painted white and dimmed down? would appreciate comments. thanks

Thank you, i think i'll go for it. 7218 i'll let you know how it turns out. Andrew

HI. i'm shooting an exterior night rain scene on super16 in a week's time. i'm using Tungsten/ incandescants for their muddy quality and going for High contrast, with a strong backlight and key. i will probably only get a stop of 4 from the distance and the lights i'm using, but hope for 5.6. i wonder what the best stock to use might be: Do you think i'll get enough stop on the 7277 320T, as it is supposed to have a wide latitude? If i go for faster, 500T, which might suit me better Vision 7279, or Vision 2, 7218? i'm going for a clean look, muddied from the lighting and rain. Any thoughts much appreciated. Andrew

Thanks guys. nice to get little nagging back-of-the mind questions cleared up. i know the need for blow-up, and resulting grain magnification makes the two difficult to compare. what i'm really talking about is contrast, colour hold, latitude etc. would i be able to compare 5217 (200T) and 5212(100T) in the same way as 7217 and 7212? i think i know what you mean. but maybe i'm thinking noise in shadows on a blow-up print.

it's cheaper for me to buy AC from a niche magazine store that imports a few issues from the states, than it would be to subscribe to it. That's in South Africa, so i'm talking postage too. So maybe look around as well. andrew

i've read that 16mm equivalents of 35mm differ. How slight/big is this difference? Is it possible to accurately say, because they are different formats. Production costs aside, could i effectively get the same picture [quality] from shooting super16 and 35? The film will be going straight to Beta from telecine. i will be going super16, but would like to know nonetheless. Is the grain size on the neg the same, for example, And grain aside, how similar/different would the contrast and colour rendition be between a 35mm pos, and 16-to-35mm-blow up pos? I presume the lattitude of the negs is the same. How close are the print films of the formats? andrew

Thanks David. Going fo creme seems like such a simple solution, but it works. seems to done mostly for comedy. Father of the Bride somes to mind. Vision 320T looks as if it has a good hold of colour as well.

Hi, don't know when this came out in the states, but its just recent in south africa. Any thoughts on how Michael Ballhaus managed to expose so much white - clothing, set etc - without it blowing out, an still manage to get even exposure all round. andrew

I really appreciate reading about how DPs and gaffers got around problems on set. valuable and interesting. and diagrams are boring to look at, but can be valuable too. thanks

Hi, could anyone suggest the best specific stocks for a Bleach bypass? would lower contrast stocks work better? I think some interesting results might come out of the new Fuji 500D. Thanks, Andrew

Hi. i understand that this may be somewhat of a contraversial issue to some. ( In respect to apprentices studying the masters and copying work to better understand the craft, ) Are there any sources besides the American Cinematographer where DPs discuss their work, and present some of their plans and diagrams? I see how there might be a reluctance on the part of some to do so, where their work might be out and out copied. However, in a learning environment, i think this might be viewed differently. Scene copy would give a better understanding of the craft. (I'm not disregarding trying to copy from just watching films.) Andrew

Thanks guys, Andrew

thanks David, andrew