Cory Dahn

Presentation format is most likely the deciding factor: I'm not entirely sure of the resolution of the projector we're using, but I figured that the 1:185 ratio was a safe bet for theatrical presentation in general. Plus, it's the aspect ratio that we have been framing for during shooting. By the way, our final presentation format will be from a hard drive. I figure I have two options: Crop to 1:1.85 in FCP using the matte effect, then export to the 1:1.85 aspect ratio for the This would give us flexibility in terms of framing, as we could make slight adjustments. But is there a way to remove the matte in the final export? (Apart from digitally zooming in) Crop to 1:1.85 during the telecine, and edit the 1:1.85 file, and export for the same ratio. This is simpler, however it will take more time during the telecine process, which will raise the cost of the transfer. Plus, I wouldn't have the freedom of minor framing adjustments in FCP. What do you guys think? Thanks again for helping out!

Thanks guys! Chris: I believe we want to edit in the full widescreen (1.85) aspect as that will be our final output format. So during the telecine process I should let the technician know that we want to blow up to the 1.85 ratio, so we don't blow up and digital grain in post, correct? So this means we would have to make all of our cropping decisions during the transfer? My other concern was that we would see the black bars on the top and bottom when projected; you believe if we scan and edit in widescreen and output to widescreen we won't have that problem? Sorry, I was a tad confused at what you meant... Tim: thanks for the clips! I've been trying to stay around the middle apertures for exposure to maintain sharpness, I believe we have only been at 2.8 for a few shots total.

Hi all, I'm in production of a student film that is being shot on an old Aaton LTR. The film features many wide open spaces, and we decided to crop our image from the 4:3 of regular 16mm to 1:1.85 to give a bit more room for the landscapes. Unfortunately, Super-16 cameras are only available to upperclassmen projects, so that option is not available. Also our school's rental house won't allow gates to be modified for Super-16. My question is this: How much image quality will be lost in the cropping process? Is it better to crop and blow up the image in Final Cut Pro? Or should this be done during the transfer? My main concern is the digital grain and loss off sharpness that blowing up the image in post can produce. FCP has a matte effect, but all it does is put bars into the frame. We'd like to not see the bars when the film is projected in its final form. If anyone has experience or examples of a cropped regular 16 image, I'd love to see it! If I'm unclear about anything, let me know. Any suggestions are appreciated! The project is shot on Kodak Vision 3 500T and Vision 2 50D using an old Angenieux 12-120 T/2.2 Lens.

Hi all, I've been quietly surfing this site for a while, it's been such a great resource for learning about the industry and filmmaking in general. And what better way to learn than to get advice from the pros! Here's my final freshman year film project, a short about a lonely projectionist. Please take a look, all critiques are welcome! http://vimeo.com/24406237 Thanks! Cory

Hi all, Recently my grandma gave me an old Leica IIIg Rangefinder camera with three lenses. It was a pleasant surprise, and in doing some research I've only heard great things about the camera. I haven't had all of the equipment checked out by a professional yet, but they seem to be in great condition with only few slight scratches, but no breaks in the lenses. They are all M39 LTM screw mount lenses. (These aren't my photos) A wide angle: W-Nikkor.C f/3.5 35mm http://www.mir.com.my/rb/photography/companies/nikon/nikkoresources/RF-Nikkor/RF35mm/index.htm A regular: Leica Summicron Collapsible f/2 50mm http://www.kenrockwell.com/leica/images/50mm-f2-collapsible/D3S_7685-1200.jpg And a telephoto Canon f/3.5 100mm I love shooting on film, but I was also looking into ways to mount these lenses on a Canon EOS body (I have a Canon T3i) I've been getting mixed messages, some people claim it's impossible, while others say it's easy as long as you have the right adapter. The biggest concern I've seen is that the adapters do not allow you to focus at infinity, if at all. Most of these have been from a few years ago, so I'm wondering, is it now possible to mount these M39 LTM lenses on an EOS body with just one adapter? Or is there a trickier, more complicated way to do it? Some people have been talking about stacking an M39 to M42 adapter to a M42 to EOS adapter. If you're curious, here are a few adapters I've been looking at. Some seem sketchier than others, any suggestions? Has anyone shot with adapters of any sort for these lenses? http://www.fotodiox.com/product_info.php?products_id=38 http://cgi.ebay.com/M39-screw-lens-Canon-EOS-5D-60D-550D-mount-adapter-/370468458259 http://www.amazon.com/CowboyStudio-Canon-Camera-Adapter-Cameras/dp/B004USBEVC http://www.dhgate.com/m39-lens-to-canon-ef-ef-s-adapter-7d-50d/p-ff8080812aadae00012ad163d4ac43c4.html http://rocksphoto.com/goods-419.html http://www.peleng8.com/af-lens-adapters/af-m39-canon-black-m39-canon-eos-lens-adapter.html Thanks so much guys!