Paul Bartok

Yes you would need to use a filter for indoors tungsten lightning to bring it down from 5600k to 3200k its goin to be quite a strong cast tho you should look into. Flashing or say a set of lee filters. Can you do color timing? Can you shoot some test first?

Shoot outdoors stuff without the 85 filter on and then shoot indoors stuff with the 85 filter on this way everything outside will be blue and inside as well as you making the film tungsten balanced which is blue shifted. But I would recommend doing everything in the DI color grading step instead.

At the time gamma radiation was not really my number one thing to research but after doing some research I would have to agree with you on that David.

I think you need to settle down mate, "You expect an article" yes I asked if he had one? as I've never heard about gamma rays affecting film before, I wanted to read about it, DIDN'T know it was a crime to learn. Are you one of those people that come here to feed there egos or to learn and assist people? David posted the link to the information, I don't see how it's any of your concern, I think that would be David's priority. According to a presentation by Rob Hummel (Kodak) at the Cine Gear Expo 2011, carrying digital cameras onto planes and reaching an altitude of over 20,000 feet will expose your camera to Gamma rays, which can apparently “fry” some of the photosites on the sensor. http://www.youtube.com/watch?v=98FZ8C6HneE&feature=player_detailpage#t=476s Around 8:00 Generally if a company ie. KODAK would post such evidence to the internet, you would except it to be founded, while I don't just believe everything companies say, It sounded quite realistic and logical, I think it could be possible but I'm always open to new ideas and interpretations.

Thanks allot :)

At altitudes much higher then 25000 feet you need about 120 feet of concrete to protect you from the gamma rays, Gamma rays induce voltages in sensor that destroy pixels. While it usually is little to none, I've never heard of film being affected by Gamma rays. Would you have any articles about this? Would be interested in reading about it, Always thought the biggest threat was X-rays?

Can you locate the batch number and ask Fujifilm about it, just in case it was a bad batch. You can try compensating in post lifting the red levels and lowering the blue, someone that is properly trained will be able to remove the bulk of it from the image. Sorry to hear about the film.

That's convenient. Thanks guys

Cool so one development time for all the Film stocks, thats easy

I develop my Vision 3 500T at 3:00 minuets standard DEV time. When I move onto say Vision 3 50D how would the development time be the same as 500T 3:00mins there appears to be no mention on adjusting development times for different speed films, am I missing a PDF or have they adjusted the films to develop equally to be there natural ASA at the same 3.00 DEV time? or... does this mean I can develop Fuji stocks at 3:00mins as well?

None of those are HD, I think you mean digital. RED has the most pixel resolution but why? If the intention is for a film print its not going to make much difference from a 2K film out onto a Digital - Film NEG, IP, IN , Release Print would be no more then 1K. So why would you need 5K for a 1K release you could just go with the Alexa which is a excellent camera. Your question is not worded very well, as well as if you search Google or this forum for digital cinematography you will find much info on digital camera resolution etc. If your a DP you should decide which camera is best for a project, generally by doing your research and doing tests.

Canon 5DMKIII: The lenses and with the upcoming update Canon will offer Clean HDMI out

If you want more or less PM for custom amounts: Great for people that want a small amount to play with, I would recommend someone with experience with VISION before. http://cgi.ebay.com.au/ws/eBayISAPI.dll?ViewItem&item=200878628998#ht_500wt_1414

Well clearly then there is no coalition. Depending on your workflow you can just make direct prints from anamorphic instead of having to convert super 35 3 perf to anamorphic. You can't directly make 4perf release prints from 2 perf. ie. Contact printing. If your low budget that saves allot on things like scanning, and the ridiculous price of film out and possibly converting at a later stage like IN. wiki: "Anamorphic scope as a printed film format, however, is well established as a standard for widescreen projection. Regardless of the camera formats used in filming, the distributed prints of a film with a 2.39:1 theatrical aspect ratio will always be in anamorphic widescreen format." "Super 35 claim an advantage in production costs and flexibility; when used to make 2.39:1 theatrical prints, detractors complain of a loss in quality, due to less negative area used and more lab intermediate steps (if done optically)." Again it depends on the workflow. I personally Love Super 35 3 Perf.

Interestingly those are all films shot on 35mm film and three of those are anamorphic making it easier to strike prints from.

I heard this was the end as well this year. I wouldn't be surprised if they all close up printing, I heard Sony could not make a print for Scorsese Taxi Driver, so who knows. I couldn't find anything on Google news wierd

Hi Gonalo, It's abit hard to make out what your saying. If I read it correctly you want to know about spot metering. A spot meter reads the light reading of a point you point it to, it is the actual reading from that point only and is not a calculated from the overall scene as usually your Video camera will. This is why you want a spot meter for the control, for example if I want to meter for the highlights I can point it to the brightest part and get my reading, the meter will have these options: T priority and F priority T is Shutter speed and F is F-stop So lets say its a low light scene but you want to expose for the face you punch in say T:1/60 or if you have a cine one 24fps ISO: 500 we point it at the the face, and get a reading such as F:5.6. and you can go from there, see if you need to lift your ISO or F stop etc.It's kinda like a automatic calculator, so If your 2 stops under the correct exposure you can either put up your ISO two stops ie.2000 in this case or get a faster lens

Rob do you have any 2383 or 2393 short ends 20-130ft?

Do you have After effects? Photoshop: File> Scripts> Image Processor This will allow you to batch edited images to re-size, reformat and also apply actions to each JPEG, the action can be anything you want to make if you desire. After Effects: Easy import JPEG as a JPEG sequence. work away.

I feel very similarly about most of that as well, I think 2k for a anamorphic adapter is a ripoff and shocked that no professional company has made cheap adapters I mean if I can buy a Canon 50mm f.18 for $120, then a anamorphic adapter should be around 300-400 and they would sell like crazy. Theres a homemade adapter you can buy but not to sure about it atm. I can't seem to get my head around the anamorphic calculation my Mamiya rb67 has a back of 6x4.5 or 1:35:1 so I think with my 90mm lens it should equal 2.35:1 with the AG7200 any ideas?

Its not weird at all I'm really itching to see if the AG7200 could work on medium format film, that would be awesome.

Steve I would say you can download Nuke for 30 day trial (or 15 cant remember) and then just look up a tutorial on how to use it even with out test shots as long as the scenes are similar you can make them look similar, I will keep an eye out for what software pro's use for this.

hahaha yes unforgettably that's how it is. When I visit there forum I sometimes feel like its forum for a cult... just saying. Not to insult there users or company but too many obsessive people over RED. I feel like its a fashion trend now. I see terrible DOP get work just cause they have a RED. So annoying. I don't have $30,000 just laying around.

Using a average photo will not work you will need to make sure the scanners is first calibrated ie. IT8 chart. Then shoot the appropriate test charts depending on the software. Even in Nuke you could use a colormatch tool to match one photo look to another. Just some ideas.

Matthew can't tell if you're being serious or joking? Lol Do you mean 120 - 617?