stephen solar

It's my opinion that "flight" was the best major motion pictures of 2012 and Denzel Washington did some of his best work in it ."Lincoln" was not a good film, I think DDL could have been a great Lincoln in another production, though. Denzel Washington, like "Sugar Ray Robinson" in the 50's, competed in a very strong era in cinema history. When he lost best actor to clint for "Unforgiven", for example. He would have been the absolute favorite over any actor in history that year, but Clint Eastwood made one of the best films of all time, and played the best part of his career... What do ya'll think about that observation?

I'm watching this on "The Kubrick Collection" and if you haven't seen it you need to. It is the best making of featurette I've ever seen. If your an aspiring filmmaker and you want to see how one of the best films was made do yourself a favor. They show Kubrick giving direction and it's so inspiring. They've got Jack pulling a lav unit out of his pants!

I've got a Isco Ultra Star projection lens on a Gh2 with the moon hack. My taking lens is a Nikkor 50mm and there is a lot more artifacts in the footage than with just my spherical lenses. Macroblocking on walls, horrible banding on walls and while it looks better when I film outside in daylight the clouds are full of blocky noise. Im using adobe premiere pro cs6, does anyone have any tips on how to fix these type of artifacts?

Can't wait for that to come out on blu ray

Thanks for the advice, very helpful.

So I was looking at !6mm cameras and wondering, what am I getting myself into with one of these, a CP-16 camera. I know it was a professional piece of film gear for news organizations and probably need all kinds of extras, also what are the chances of some catastrophic failure on these old film cameras. I've got a canon AZ super 8 and it's time for an upgrade. I think I'd like a 16mm, preferably crystal synced. Any suggestions or opinions would be appreciated.

I was reading an article in "Movie Maker" and this article was about brick and mortar distribution companies. The question was asked what are some tips to filmmakers to help their work get distributed and a rep said to try and film everything in true HD, This made me wonder if, for example, you crop your footage to 1920x816 for scope AR or if you film in 2x ana then crop off the sides to get a less extreme wide aspect does that mean you're footage is no longer true HD?

That's very interesting, as always, thanks for the detailed answer Mr. Mullen.

So i was watching this personal favorite and I read the tech specs which are spherical ,1.85 format. My question is when they printed this DI'd to dvd did they stretch 4:3 to get to 16x9?

Thanks for the interest Mr. Mullen, it's a cool thing to be able to correspond with an industry pro such as yourself. I've gotten the stretch factor I wanted, I was just at a sticking point as I'm new to NLE software. If you would indulge me though, I know your a fan of the 1978 film "Superman" and as an ASC I'd love to know what you thought of the cinematography in MOS.

h264

David, the format is 16:9, 1080p and it was shot on a hacked gh2.

I'm having trouble de-squeezing my 2x anamorphic footage. I just got an ultra star isco 75mm and I use PP CS6 creative cloud version, there are anamorphic options but they don't seem to be making the footage wide enough. Would somebody point me in the right direction?

I was watching it and thinking how much better it was than the theatrical release. If Donner had been able to finish it properly back then it would be better than the one we got. MOS was pretty good but I wasn't blown away. I wanted to fall in love with but it was strong just a little long winded. I'll buy the blu-ray though for sure and probably watch it a hundred times. Anybody wanna way in on MOS I'd love top hear it.

Agreed