Max Jacoby

I quite like the ads for the Chris Moyles show that are screening in cinemas at the moment. Of course every time I see them I go: I could have shot that!

What's the budget for your feature?

You should really talk to a stunt coordinator about that. Also regarding camera placement, to know which positions are safe and which needs remote control.

There is an article in the January 1996 edition of AC. The whole film was shot on 5298 500T, night exteriors and interiors were pushed one stop.

Maybe you should have, so they wouldn't have been able to make it brighter later on ;)

Yes I know the grass is always greener on the other side, but people are shooting today with your camera, not tomorrow. At some point you'll have to let the camera speak for itself, instead of continually undermining people's tests by saying that the 'next' build will be so much better.

You can expect a 4K camera from Arri in the near future, not sure if it's an upgrade from the D20 though. They'll need a new chip for that, that's for sure.

Claudio Miranda's tests clearly showed that the F23 has more latitude than the Red. I agree with Evangelos, resolution is just one part of the equation, color and dynamic range are much more important.

You really want that spot to be clearly and unmistakably labeled though, to avoid any confusion in the heat of the battle.

That's what I've been told, it's the prisms. You don't really get such a blue flare from other front anamorphic lenses that I know of.

That's not based on personal memory, now is it John? ;)

There was an article on '2010'.

Depends what your definition of prototype is. Obviously there is more than one D20 around, but over the last years Arri has always said that the camera was still in its developmental stage, hence why they didn't sell it. The camera first got introduced in late 2003 and ever since they have been testing and improving it, gradually increasing the number of cameras and productions it has been on, to gather as much real life feedback as possible and iron out all the quirks and bugs. For those who have been following the camera from its inception, it is obvious that it has been improved quite a bit over the years. They obviously only want to sell it once they can offer their customers a well working system without any of the problems that plague other newly released camera systems.

I always take manufacturers' statements about their own product with a pinch of salt.

He also wears the most atrocious Hawaiian shirts.

I think you might be confusing the 16mm lenses wth the 35mm ones. 16mm Superpseeds have triangular bokeh through all generations, while in 35mm it's only the 1st generation.

Here is an article by Jorge Diaz-Amador on the different generations of Superspeeds: http://www.cinematechnic.com/resources/zei...1,2_lenses.html

Thanks for the name which had eluded me. Red really should put a focal plane indicator on their cameras to avoid any confusion.

If you test these data cameras you really need to put them through post to see what you can recover. Judging them by the live monitor output is like judging the dynamic range of film by looking at a print.

Emphatically indeed ;)

Besides a focus hook, most film cameras also have an sign on the body of the camera itself showing where the filmplane is. This is on both sides and is most useful.

Brad's right, for the price of 3 Ultra Primes you should be able to get a full set of Superspeeds (18mm, 25mm, 35mm, 50mm, 65mm, 85mm). On the other hand shooting with a limited number of focal lengths can be an interesting creative challenge. There are many directors who reply on a limited number of lenses, some only on one (Ozu, Bresson for instance)

Kinda depends on the style of the film you want to shoot it in, but since the room is so small, you might not need too wide or too long lenses. It would be best if you could take a bunch of lenses or a director's viewfinder into the room to see what you like. But generally I have a feeling that you'd chose lenses between 20mm and 50mm.

Vantage Film have a filter called Blue Vision.

Shakespeare was Shakespeare, this is not I'm afraid.