Max Jacoby

I've done 2 features on 3 Perf so far. We used Arricams (ST and LT) and 435s and never had any problems. Arri Rental gives you a very good service and their lab can handle the whole postproduction (including optical 3 Perf to 4 Perf) as well. As far as I'm concerned there isn't really any need to go 4 Perf anymore if you are shooting Super 35. Even the little Arri 235 can do 3 Perf. As long as the cameras you require are available in 3 Perf, you can save a lot of money.

To view filmrushes in 3Perf the Arri Locpro is your best bet.

There is an article in the April 2002 issue of AC.

Arri and Zeiss always felt that they could improve on the Ultra Primes, which is why the Master Primes. Up to now lens design has always been a compromise between breathing and close focus, but with the Master Primes this has been solved due to the use of dual floating elemtents. While the Ultra Primes do breathe a bit, this has been eliminated with the Master Primes. I don't think the range is overkill (except maybe the 32mm and the 35mm), it is the usual range one encounters on a feature film. If anything one will need to complement them with very long (135mm and 180mm) and very short (10mm, 12mm, 14mm) Ultra Primes.

The Hawks flare as well, but since the anamorphic element is inside the lens and not up front as with most other lenses, there are no horizontal streaks.

I have worked with focus pullers who own Leiko Distos. They are good for getting distance readings on actors/objects that you can't get to physically. They were especially useful when we shot in Venice with boats. They are very precise and they have a trigonometry function as well, so you can calculate the height of a wall for instance. The limitation is that on dark, non reflective surfaces it can be hard to get a reading and obviously you can't point them into actor's faces either.

I think both the Zeiss T2.2 Variable Primes (which are zoom lenses in fact) and the new 17-80mm T2.2 Optimo deserve some credit as well in this category.

The film is shot on 5218 and 5263 on both Primos and C-Series anamorphics. DI by LTC. Ever since the 5218 came out, Eduardo prefers that over Fuji 500T. 'Girl with a Pearl Earring' he shot Super35 because he didn't want flares from the practicals (candles, oil lamps).

I've just been informed that Arri and Zeiss have created a new spherical lens set called 'MasterPrimes'. These lenses are all T1.3 and weigh between 2.2 and 2.7 kilos. They are all 20cm in lenght and of 114mm front diametre. So far the focal lenghts between 16mm and 100mm are available. LDS is standard. I have first heard about these lenses in the beginning of the year, but didn't expect them to come out quite so quickly. Arri and Zeiss felt that they could still improve on the UltraPrimes and optically speaking this is about as good as it gets. The drawback is the size obvioulsy, they are in the same weight category as Panavision's Primos. But the UltraPrime 24mm is over 2 kilos as well and no one has complained about that one so far. I am looking forward to testing these new lenses.

Considering that Terrance Malick doesn't even give interviews, I think a Special Edition is quite unlikely. Also it is produced by Fox and Criterion does not do dvds for them.

I don't have the information at hand right now (my reference book is in the camera truck), but the Es are around 3 kilos. I remember the 50mm primo being something like 7 kilos, the other lenses are 5 kilos or so. The USG come in longer focal lenghts as well than 50mm. 'Heat' also used Primos, both Primes and Zooms.

The short Optimo is T2.2 and a very good lens. I am on a feature where we are carrying it, but we haven't used it much. We got ours from Arri Rental. It is heavy though, over 5 kilos, so not too suited for handheld

I always load the slit against the direction of operation on a 435 or any other Arri camera fot that matter. So far I haven't had any problems with that at all.

I would not consider 'The Thin Red Line' an action film. I think it is about as far from an action film as you can possibly get

They only used a DI for parts of the 'green' sequences of the film. I saw this film over a year ago in the cinema, but I seem to remember that the scene with the green curtains was definitely DI.

I saw this movie today. Did anyone else find the wide shots to be soft? The close-ups and the end credits looked sharp though, so I figured it must be the typical Cooke S4 problem.

Haha. I wish you stopped bringing up Robert Rodriguez all the time, as in most people's opinion he is not someone you should try to model yourself after.

I did not mean to imply that the film will 'only' get a French release, in fact the American release should be a month after or so.

From what I heard Darius Khondji asked for too much money to do 'Amélie' so Jeunet went with Delbonnel. This film will only get released in France at the end of October btw.

Yes, but why does every synopsis about the film say that it plays in 1799? To me that just isn't being honest with the audience.

That is ridiculous. If your knowledge of the filmindustry is based on listening to Robert Rodriguez's dvd commentary tracks then I am afraid to say it is about on the same level as your spelling.

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The Nikon 200mm I know is T2. We carried it on 'Girl with a Pearl Earring, together with Cooke S4s (which only go up to 135mm). The one scene where it got used is at night when Griet is sweeping the floor and she sees Vermeer for the first time, entering through the front door. Both the shot and reverse are on the 200mm and they seem to match quite well with the S4s.

Personally I find it very annoying when you have someone posting here who rather than trying to improve his own abilty so that he will gain access to better equipment (and budgets) instead is expecting the equipment to improve so he can afford it at his current position. Something tells me that is not the way to go.

Since you are shooting on older Cooke lenses, I would suggest the 20-100mm. The Cooke 25-250 I am not so familiar with. I did a film where we had these 2 lenses and we never used the 25-250. In fact after a couple of weeks we send it back and I remember the focus puller saying that it wasn't a good lens. But obvioulsy it would be a good idea to put the lenses on a projector to check their sharpness. From what I gather the Cooke lenses haver been build over a period of time, so their quality varies.