Max Jacoby

To be honest I didn't find this test very useful. For instance I would have put a Master Prime on the Red, so that the lens quality on both the Red and the F23 would have been the same, thereby taking the lens out of the equation. I'm sure other people can chime in about the post route (especially the scaling) that was applied to the images.

I'm afraid I don't see what's wrong with Tim's offer at all. If he wants to resell his cameras (respectively his place in line), he should be free to do that, that is his prerogative. He isn't forcing anyone to accept this offer, if you want a camera and can wait till summer, by all means order it for yourself and save on re-warranty and the premium. On the other hand if you need a camera right now, the only way to get one is to buy them from an existing owner at a premium, which in any case might still be cheaper than renting one. It's up to each one to figure out if it makes economical sense to him/her, but to condemn the poor man for his offer is just plain silly. And I have a feeling that if this weren't about Red, no one would care.

At least they brought their point across: that you cannot use PL mount lenses on them.

Hi Mitch Both the Arri 765 manual an the American Cinematographer's Manual refer to it as Maxi-PL mount.

I always knew there was a conspiracy to keep me out of the NBA! I coulda been a contender... But seriously, I think Richard has a point, if you look at most industries, you'll find that hardly any of them reflect the general population in terms of percentages (be it of minorities or even genders). Only yesterday I read an interview in a magazine where it was discussed that although more women than men study in Germany, they mostly pick subjects that are not as career-oriented, because most are not aiming to become the principal earner in a couple anyway. If the couple have children, it's almost always the woman who is quite happy to only work part time or even stop working altogether to raise them. In fact women in general are not prepared to marry a man who was happy quitting his job to look after the couples kids while the woman keeps on working. So if you wanted someone to blame for this situation, you'd have to blame the men and women concerned! Now to avoid any misunderstanding, it is not my intent to suggest that this situation should stay as it is. But this is merely an illustration that hundred thousands of years of evolutionary induced behavior cannot get changed by the people concerned from one day to the next. I think if you look at the recent history, you'll find that things are changing towards more equality, but they are changing slowly. Luckily Luxembourg is far too small to start any of these positive discrimination, but hell yeah, I'm happy I don't have to apply for funding in the UK, where as a white male, I never would see any money. Now on the other hand if I were a black jewish lesbian... ;)

The Phantom 65, as far as I'm aware, has a Maxi-PL mount, some as the Arri 765. Arri have rehoused Hasselblad lenses and a Cooke zoom (an 18-100mm with a relay system to spread out the image to 65mm size, losing about 2 stops in the process)

'Appeal to authority' seems like a fancy name for what is essentially 'name dropping', isn't it? ;)

I finally saw this film. Well parts of it actually, I stopped after 40 minutes, really couldn't be bothered, it was so awful! I pity those people who paid money to see this, luckily I was given the dvd by a friend who also couldn't finish it.

So did those people that attended see anything interesting/noteworthy?

Well spotted John, it's all Primos. Kodak Magazine

Anthony Minghella Arthur C Clarke

Yep, that looks like him.

There was a short article in the AC covering the Oscar nominated films. Shot on Panavision, with Primos, some Shift & Tilt and the Frazier lens. Super 35 with an optical blowup. I don't recall the filmstocks, but they won't be around anymore anyway.

How bloody uptight...

Oh please, don't presume that the only reason people shoot film is because they want to be 'trendy'. Different people have different reasons for shooting on film, some of which go beyond the mere technical considerations of an engineer.

I'm abroad, can't make it unfortunately.

For my birthday I was given a book of his photographs, very moody stuff. Love the houses at night. Interesting that one can always feel the light just out of frame, but it is motivated in these cases and could be a streetlight.

Haha! Well you know what I want to see Mitch ;)

Just for the record, although I am not a fan of DIs I think that they have gotten much better recently. Personally I still wouldn't do a 2K DI, but if I had the possibility of doing a 4K DI (and thereby skip IN/IP step) I would look seriously into the matter. As for digital projection, it does have its advantages (it certainly looks sharper than a 2K DI filmout), but there are still issues with it (you can see pixels, the contrast is not very good). I'll take an anamorphic film, finished photochemically over 2K projection any time. Current digital cameras also don't convince me yet. I value my skintones, like my highlights to blow out gracefully and love the texture that grain provides. To me digital cameras look too harsh, nothing like the dreamlike quality of film. Film fits my view of the world and goes well with my aesthetical approach to filmmaking. Unlike cinematographers who work a lot and have to use different tools, I am a director who makes a film every 2-3 years. Luckily I am in a position where I can afford to shoot on any format available, so I can chose the format which I like best, instead of having to settle for the only one that is affordable. I also realize that digital technology is constantly improving, so don't take the above positions as absolutes. They reflect my opinion based on the currently available technologies and are likely to change as technology changes.

I've found that digital always looks best in low-con & slightly bluish scenes. Anything high-con or warm and you can immediately tell that it's video. It was the case with DIs as well, but recently they have gotten much better.

Can't wait to see it, I loooooooved 'Independence Day'!

That's what I've been asking myself as well. If you have your design locked in too early then you will only be playing catch up, trying to correct problems that you overlooked first time around and the finished product will suffer. People have been complaining that Arri doesn't sell the D20, but really what they have been doing is test the camera to get all the bugs sorted out and get the most out of the camera so that when they do sell it, the customer gets a finished product. Saves on expensive recalls for sure.

They used the Cooke S2/S3 series. If you are going for a 2K DI then the image will get softened already, so by all means use the Primos. If at all possible, you might want to shoot a short test and do your DI with filmout so you can get an idea how it looks like on the big screen. Usually companies do that for free if you do the whole film with them.

Probably one of his ghostwriters did that and Horner failed to notice, since he didn't write it in the first place. ;)

Ladies and Gents, Could you please change your display name to your first and last name, as per forum rules.