Phillip Mosness

People have funded way dumber things, but I'm not sure a post house would scan anything unless the owner has the copyright, anyway. How old is the cartoon?

Aapo Lettinen "I have have exactly the same kind of problem with old unknown history 50D EXR except it was pumping red layer, not blue. "I've never seen a red problem outside of the light leaks one gets when they load daylight loads in ....daylight. Those are usually on the right side of the frame and I at least know what happened. I realize second hand film is a risk, but I've had such good luck over the years . With this batch it was the pulsing that was driving me nuts because a consistent problem could be worked with more easily, and they were still factory sealed. I guess I shouldn't have left those rolls in the MRI machine that one time. hehe

If anyone recognizes these problems, I’d be curious to hear. I bought this film second hand so it’s impossible to know how it was stored before I owned it. It’s the first time I’ve run across problems that looked like this, however, and I’m trying to determine what the problem was/is. I’m tempted to say it got large doses of x-rays going through airport security, bit one roll seems to have come out fine. All were Vision2 and 3 500T in 100’ loads in a Bolex super 16. A combo I’ve used many times with no problems. Any ideas? Thanks! https://vimeo.com/157816781 Password: superprob

A quick vid on the Coens and Roger Deakins use of putting the camera inside the conversations rather than over the shoulder.

Hi Lena, There's some info on this subject in the FAQ on anamorphics at the top of this lens forum. "To be safe one should calculate the depth of field based on the actual focal length of the lens."

The second one (8 second mark) looks like the ones I've had in my footage. The first one (2 second mark) is stronger than I've had, but outdoors on a sunny day it's certainly my guess. It would make sense if you were looking through the eyepiece to make sure you were getting your sync light and then momentarily looking away to put the unit away somewhere. The fact that it's a steady shot and that it comes and goes so quickly tells me it's not a light leak.

Thanks guys. That makes sense.

just curious why the reflections in eye glasses often have a green hue. I might guess it has to do with florescent lighting having a spike in the green of the spectrum, but only in people's glasses? I see it in both video and film.

I suspect the seller doesn't know considering the sparse description . These items used to be with an Arri 3 and now separated into its own auction.

http://www.ebay.com/itm/Lot-of-Arriflex-Movie-Camera-Accessories-/221892353526?hash=item33a9d09df6 It kind of looks like a periscope system with a PL mount and BNCR mount adapter, but I can't really tell.

That's surprising. How far into the zoom range do you have to go before you're safe?

Hello James, Do you have that little gear that conects the motor drive shaft with the camera?

The person selling this 2C just told me it has a full frame gate. I asked because the pic kinda looks like one. http://www.ebay.com/itm/35MM-ARRIFLEX-IIC-CAMERA-ARRI-PL-MOUNT-/151746896135?ssPageName=ADME:X:RTQ:US:1123 "Hello, Do you know off hand if this unit has an academy gate or something else? thanks, Phillip" "Hi Phillip The IIC is a full frame gate and the lens is center on Accd. Thanks for looking Ken At Stone Cinema Eng."

Can't seem to link the article but it's on Variety today

Years ago I was reading a forum where shooting miniatures, space ships I believe, was being discussed and the one thing I remember from that was in regard to camera pans. The idea was that if you didn't adjust the pivot point correctly the effect would be that the camera would seem to be out at the end of a long crane rather than in a stationary point. I think the pivot point needed to be at the front element of the lens , but a little experimenting would probably get it right. I'm not sure if I'm being particularly clear on the concept.

Is this still up? Do we need a password or something? Thanks

What about Lomos in OCT-18 with a PL mount adapter? Or these Helios 58mm f2 http://www.ebay.com/itm/58mm-Lens-Helios-44-2-f-2-Pl-mount-Konvas-Arri-Arriflex-Red-Aaton-Canon-5D-7D-/121492376019?pt=Camera_Lenses&hash=item1c498289d3

I recently received a 50mm lens with the same mount thinking I was getting an OCT-18. The seller allowed me to return the lens. It was odd because it was so close that I was fooled by the pics. I never found out what the odd mount and luckily it didn't cost me anything, but now I'm a little more careful.

I asked about that cam on craigslist a few weeks back and never got a reply from him. Probably for the best because I when I found it on ebay later for 5k, I knew it wasn't going to happen. All things being equal 3 perf would be nice, but it would take a while to pay for itself in film savings for this weekend shooter. I'm sure it cost a lot new, and to the seller 5k is selling it cheap. But considering my Arri 2c was well under a thousand, I'm happy to spend the difference on film. Very cool camera, though.

Hello Scott, Out of curiosity, are you thinking in terms of the artistic, or more purely technical challenges?

Hello Phillipa, Since no one else has chimed in yet I thought I'd start. Firstly, I'm not a Professional cinematographer, I'm a storyboard artist for animation. Many of the principles apply just the same, though, especially when it comes to composition. Before anything else, I might suggest that whatever thesis you decide on, that it's a good rule of thumb to narrow it down pretty tightly so you don't end up spreading yourself too thin over too broad a subject. Obviously, entire books are written on the general subject of composition. Also I'd recommend another book that I love by Bruce Block. http://www.focalpress.com/books/details/9780240807799/ His general ideas focus on 'contrast and affinity' as it relates to visual storytelling and symbolism. I'll give you some of the challenges I face in my storyboards as well as what little I've done in live action. Is my composition clear? Does it have good silhouette value? In other words, would the scene 'read' to a viewer if it were reduced to black and white? This concept is common in animation as it relates to character's body-language and performance, but you see it in movies, paintings, etc.(The Mysterious Geographic Explorations of Jasper Morello, 2005) Am I conveying what the story needs to get across at this point? Revealing information to a viewer that they need at that moment, and if so, how? In a clever and entertaining way visually? Is the composition reinforcing a story point? Like if a character is feeling lost, alone, insignificant, do you put the camera low and up at them to make the appear huge in the frame? Or do you put the camera high up looking down on them so they are small in the frame, perhaps with strong, angled, sharp shapes to create visual danger? How do we want the audience to relate to a shot? Do we want them uncomfortably close to a subject. Abstractly far away? Eye level? Maybe it's a P.O.V. of a child and so we're seeing compositions from a lower level. Is a character experiencing calm moments at points, signified by more balanced shapes with the camera locked down, only to be contrasted by unbalanced hand-held shots when things are more chaotic? Maybe work is boring and repetitive, so the composition is flat with left/right motion. But then home life is boisterous and the camera is in motion as characters in in and out of deep space. Are the compositions becoming more intense as a scene gets more intense? Like angles getting progressively stronger when Orson Welles kills the man in the motel room in Touch of Evil. So another challenge might be whether or not something is even physically possible where you're shooting. Let's say you're on a low budget movie and you have a lot more limitations on what you can do. Maybe the location you have can't accommodate something you had in mind so you rework a way to get across the emotion, or whatever, with the elements you have at hand. Before I sign off I'll mention in the challenge that's inherent in aspect ratio. These days it's mostly 16x9 on tv and 1.85 or 2.35 for film, but for decades most movies were in the 1.33 'canvas' so when things got wider, I'm sure it was like reworking the mindset. Some filmmakers didn't really like the wider canvas. Fritz Lang said of CinemaScope: “It's only good for funerals and snakes.” ... Others found ways of creating compositions withing the canvas, framing things through doorways etc. Years ago we started boarding in 16x9 panels assuming the TV's would be going that direction, but we still had to compose withing a 4x3 within the panel since most people at the time would be viewing the shows on tube TV's. Lot of empty space on the edges of those boards. When I first start thumb nailing a script, my biggest hurdle is where to put the camera so that basic screen direction can be maintained throughout the sequence. OK that's all I've got today. Best of luck!

That must be the biggest rear element I've seen on on a 16mm zoom. Love to see some footage with it

If this is a new picture, it may be Terrence Malick's new untitled project. Label says 5207, which is 250 Daylight. Should look great! http://www.imdb.com/title/tt2062700/?ref_=nm_flmg_act_1

If you are wanting to cut and project your film, you'll be limited to reversal stock. Right now, Kodak makes one black and white 200 speed film called Tri-x.

As far as the video goes, I felt like the cinematography wasn't competing with the dancer, nor was it simply passive. Maybe the thinking was to allow us, as viewers, to be active enough to feel we were moving with her from room to room, and thus included, as apposed to a new cut as she exited and entered, etc. Nice balance for me. I liked that the dance was dictating the pace rather that arbitrary cuts that often feel contrived in music videos. It always seems like they're hiding things in the editing.