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Max Jacoby

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Everything posted by Max Jacoby

  1. I remember that in the American Cinematographer article on 'Heat' Dante Spinotti said that they never used the 50mm T1.1 wide open, because the lens wasn't sharp enough at that stop. Depends, the close-focus for the V-Series is 2 feet (50mm, 75mm), while for Hawks C-Series (which aren't as good optically), it is 3'3". All the info you need is on www.vantagefilm.com. I think if you are shooting anamorphic, rating the 5218 at 400 asa is plenty. You certainly won't have any grain issues. From my experience you can push the 5218 easily one stop without getting noticeable grain. I remember in 'Girl with a Pearl Earring' Eduardo Serra pushed the 18 for a few night scenes and they held up very well during the rushes. And that film was shot in Super35, so in anamorphic it will even be less of a problem.
  2. Yeah, I nearly pissed myself laughing at the following: Now what 'typical' movie would that be? Are you talking about Porn maybe????
  3. The lab was Color-By-Dejonghe in Belgium. They went through an IP and IN (opical blow-up). Close-ups and medium shots looked very good, obviously when you had wider shots, there was a bit of grain and it wasn't quite as sharp as 35mm (optically printed, not digitally), but it still looked very good. I think the Dop had made an effort to get a very clean and sharp neg (200T and no diffusion) and the result shows. The film also was printed on Agfa CP30, which is an excellent printing stock. I was there for the grading of my film and they printed us a comparison between the Agfa and the High-Con Fuji (3513). The Agfa beat the Fuji hands down: more neutral and deeper blacks, nicer colors and better skin tones.
  4. I saw 'Cold Mountain' yesterday. I am not really a big fan of John Seale's work and I feel that this film clearly showed that Super35 and 500T can be a bad combinaiton for daylight exterior scenes. Especially wide shots were annoyingly grainy. During the battle scene there was one shot that looked like a Super 8 blow-up! Throw in a DI and you have a film that looks not just soft, but also very flat without real blacks and plasticy skintones. Earlier I was at a lab where they showed me a reel from a Super16 feature cropped to 2.39 and blown up optically to 35 anamorphic. This film was shot on 200T and it looked less grainy than 'Cold Mountain'. Max
  5. Max Jacoby

    UD vs. 70 mm vs. IMAX

    Ultra Definition, first you title your post: 'UD vs. 70 mm vs. IMAX, UD is better than 70 mm' Then you write: 'Ultra Definition is not here yet.' Please do explain how UD can be better than 70mm if it doesn't even exist yet. You are comparing apples to oranges, i.e. present to future here. Now what's the point of that? Max
  6. If you are shooting with Arri cameras, get an ESU from the rental house. This unit will allow you to dial out the horizontal bar from the TV screen. You'll have to shoot at 25fps and 180° shutter as perviously mentioned. Max
  7. I am glad to hear that the Elites have less breathing problems than the Hawks, because that was one aspect I didn't like about the Hawks. Since Arri Munich will probably start to rent out the Elites soon, so I'm hoping to use them on my next project. I used the Hawks V-Series recently and it was very hard on the steadicam operator, since we were shooting with a Moviecam SL, so the whole camera setup was very front-heavy. Handheld also was very uncomortable to operate, so I guess with such heavy lenses one best uses a heavier camera as well, for better weight distribution. Which camera do you plan to use on the your feature? I was told by someone who visited the Elite Manufacturers in St. Petersburg recently that they are developping a new set of lenses, which is lighter, but optically just as good as the current version of the Elites. He said that they look to reduce the breathing even further. If I'm not mistaken, the anamorhic element will be at the back of the lenses as well. I hope they develop a zoom lens as well, something similar to the Hawk 46-230mm lens, with a decent t-stop. Which zoom lens do you plan to use with the Elites? Max
  8. How is the breathing compared to the Hawks V-Series (which are not too good in that department)? Also you said you wanted to use steadicam a lot, but since the Elites are very heavy (between 5 and 6 Kilos), how do you/your operator plan to deal with that? Max PS: There is a new, lighter series of the Elites currently being developped in St. Petersburg.
  9. The impression I had when watching 'Last Samurai' was that of a typical multi-camera shoot where the director and dop were merely covering the action, but not thinking how it would all cut together. Of course there were nice indivudual shots in there, but the framing in its entierty didn't feel too cohesive or thought out. That is unfortunately something one sees a lot these days on big shoots, in fact I just finished working on a movie where that was the case as well. Sometimes it is better not too have an unlimited shooting ratio, because it forces you to think more carefully about how it will all cut together. Max
  10. I haven't seen a direct comparison, but that's what the head technician at Arri Munich told me. But he also added that they certainly won't complain if people want to use 35mm lenses on Super 16, since they can charge more for rental. :D
  11. Also it isn't such a good idea to use 35mm lenses for super 16 if you are going for projection. The quality won't be as good as super16 lenses.
  12. 'Girl with a Pearl Earring', which I worked, on got nominated as well. Obviously I'll keep my fingers crossed for Eduardo to win. Max
  13. I haven't shot with them, but last week at Arri Munich I put them up on a lens collimetre (sp?) and they were sharper than Cooke S4s and Zeiss Ultraprimes... They are heavy (can't really use them for steadicam or handheld), but they are nearly as fast as primes (T2.2) and can be shot wide open. Stanley Kubrick used them on 'Eyes Wide Shut' if I'm not mistaken. If you like the way they look and don't mind the weight, they are just as good as primes. They also come in an LDS version. Max
  14. So far most of the famous actors I have worked with, I have found to be very professional and friendly. Obviously it's always a plus to work with people over a longer period of time, so one gets to know each other after a while. The only exception to that is someone who isn't even a star (although he'd like to think he is): Dolph Lundgren. He also is the only actor I have ever encountered who comes to set with an 'entourage'. Max
  15. Greg Regarding the tests for anamorphic lenes (flatness, sharpness etc...) you described in last years forum, do you find that the Primos, being newer lenses, have less variations from lens to lens than the C-Series and E-Series? Max
  16. I just came accross this year's ASC awards nominees: John Toll (Last Samurai) John Schwartzman (Seabiscuit) Andrew Lesnie (Lord of the Rings) John Seale (Cold Mountain) Russell Boyd (Master and Commander) Is it just me or do the same people get nomminated each year? And do you have to be in the ASC to get nomminated or do they just automatically presume that their members do the best work at the exclusion of everybody else? Of the above films I have seen 'Seabiscuit' and 'Master and Commander' and while I wasn't particularly impressed by 'Seabiscuit', I thought 'Master and Commander' was pretty dreadful looking. An awfuly DI with some really soft-looking wide shots, lighting I didn't care for at all and a focus-puller who has never heard of rock-and-rolling. I thought 'Elephant' looked better than any of those two films, just like 'Girl with a Pearl Earring' (which I haven't seen yet, but I worked on it and some off the rushes just made my jaw drop) Max Jacoby currently 2nd AC B-Cam'The Merchant of Venice'
  17. That's a Panavision R200. I have used it a couple of times. Handheld is out of the question... Last time I was at Arri Munich, walking through their storage rooms, I came accross the 65mm aisle. I couldn't help my self and had to have a peak at the 765. Just the body of that camera is sooo heavy. But I'd love to shoot on it. Max
  18. Shouldn't this read: Lucien Ballard - The Killing - Looks like it was filmed by Stanley Kubrick :-) Max Jacoby
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