George Lekovic

In case Kevin's does not work here's a back up plan: http://www.kinokamera.com/DROPBOX/35IIC_manual.pdf :ph34r:

Thank you Phil. I was surprised to see such quality (albeit compressed) coming out of a DVX. DV compression seems to hurt the original image quite a bit. George

What are the real advantages of using the system like Andromeda? Do you get more resolution, better color sampling? What do you record onto? Do you have to be hooked up to the computer at all times? I'd really like to test one of these and see how they compare to, lets say, HVX200. Thanks. george

Well, JLG, elsewhere known as Jean Luc Godard, once said that "Photography is truth" and then added that "Cinema is truth "24 times a second". Michael Haneke, on th other hand, said that "Cinema is 24 leis a second in an effort to represent the truth". I don't know what is the difference really is, but it seems to have something to do with seconds and the number 24. :) George

Battle Of Algeres - G. Pontecorvo If I remember correctly, Kodak worked on designing a new film stock especially for this film. Towards the end of the film - in a shot where the protagonists lives are slowly dissolving so is the film stock on which it is shot. It is grainy, underexposed - truly amazing and will give you goose bumps. But other than that - this is one of the films that, at least according to me, one must see. Even though it was shot decades ago, it is still very relevant today. cheers.

two notes: :: when I shot my first feature with PS Technik I was told to keep the 35mm lenses always WideOpen so to avoid seeing grain off the ground glass. For stopping down we were to use an optical device that connected our XL2 to the adapter. In hind sight it makes little sense - but that is what we were told. If true this means you have no control over DOF. :: as per wanting the shallow DOF so much, because it looks so much more like film, remember that Citizen Cane was hailed (among other things) for its great DOF and what great shots and compositions it allowed for - so shallow DOF does not mean great cinematography... george

it might be that you did not shoot 24 frames/sec advanced, and then you did a pulldown when you captured, thus removing frames that were not supposed to be removed. try re-capturing, or simply putting the captured footage in a normal sequence, w/o applying any pulldown. it might help. never really done this - but that's what it sounds like to me...

Test came back. The test I shot with my 2C and a 35mm Superspeed came back and it looked... great. I watched it in a screening room at Technicolor and the image was very, very stable - no play that I could see. What is interesting it was shot on an old piece of film stock (10 years) and it came out looking really good... :D

Thanks guys. In the meantime I bought grease and oil from arri, lubricated, found a 16V battery belt and shot a small test. Speed looked constant at 24 and Today I'm off to technicolor to see how it came out. I will let you know how it went. Also, I'm looking to get a variable speed motor to rent in NYC for tomorrow... :) thanks.

Criteria for a 'good' film are different, and certainly, for studio execs The Pirates is the best film ever to land on celuloid. However, success at the box office does not make for the good film across the whole board, nd one can argue that this huge financial success of The Pirates is because of the timing (summer), lead actor, lack of competition (no good movies are out now), success of the prt one, marketed and managed expectations. People naturally flock to movies like that. Along the same lines there are many good movies that have been badly timed, not marketed and without big names - haven't made a lot of money - but that does not make them bad. So if you pick what you're judging and clear what your criteria is it will be easy to say good or bad. Otherwise you're arguing a mood point. Crash was a great movie - had a lot to say - and it's a pity more poeple did not get to see it...

david, my mistake on subtext/subplot confusion (although the two do correlate to a certain extent). as per vaguely describing the terms, i think i was fairly clear in saying that if you have a meaningful closure to a story that re-establishes the order of things as presented in the beginning, chances are yoo are dealing with a 3act structure. it is often mentioned that "full metal jacket" 'does not work' because of its distinct 2act structure. they go to the boot camp, they go to war, end. perhaps it is me using different ground to define the term -which does not mean that our oppinions/views are in conflict. :)

Dear friends, after some time invested I have succesfully recovered PDF copies of 2C manuals, posted it on my website, and you can find it at: www.KinoKamera.com/dropbox/35IIC_manual.pdf Let me know if this works. If anybody knows where I can get a battery for mine (standard 24fps motor) I would be much grateful. Still waiting to hear bavk from ARRI.

well, 3 act structure is as old as storytelling, and in many ways is the mode in which humans (as we know them) tend to present narratives. whether second act has a subplot or not is not neceserally imortant for determining if the 3 act structure exist. every scene has a subplot, so does every piece of dialogue, and hopefully, every lighting setup has its own little sub-story to tell. on a large scale, you start your story with establishing what the status-quo is, then you question it, and try to overthrow it, and then at the end you establish it again so everybody can go home feeling happy and secure. if you have ever walked out of a movie in distress, it might have been that the status-quo was not put back in its place, or the boy didn't kiss a girl, or there wasn't any girls in the first place. if you know to what ends this structure works, then (theoretically) you should be at liberty to play with it to suit your own ends...

Hello, a good friend of mine has given me (for time being) his ARRI 2C... Very little used. I need to oil + grease this thing before even start thinking about shooting tests... Being new to this camera, and axcited, and having gone trough all th epossible forums and topics, I still have few qustions. Here are the pix: :: Is there an adaptor that would reposition the motor to the side of the camera? :: What are the really good (and affordable) ARRI mount lenses... I used old Superspeeds with triangular iris - not too happy... :: Where do I find batteries for my Motor (the one in the pic)? I don't even know how to begin describing it? What is the Voltage / Amperage for this motor? :: Where do I buy/order oil + grease? :: Should I consider converting to PL mount? I have questions and I hope you have answers. Looking forward.

Hi nooman, I was wondering if you could email me the 2C manual. I just got a very low mileage 2C, and am about to grease and oil it and test it. Any idea if it possible to displace the motor to the side of the camera? Thanks, george george@kinokamera.com

Hi, if you go to any of the labs, most of the time they will be happy to provide you with cans, cores & labels free of charge... Hope this helps.

One concern is that if I shoot daylight balanced stock at night - all the night practicals will turn out very warm... Other than that I don't mind using one daylight stock all over.

Hi, So far I have been happy with 7218 for INT and night EXT, mixed with 7245 for day EXT. I'm moving into a production in six days and this crossed my mind: Woudl I be better fo to shoot everythhing on 250D? I have very little experience with this stock. What are the pros and cons of this approach. A standard HMI package should suffice to give a decent stop inside, and ND filters will help on the outside. Overall it would be Tungsten-less production with a very uniformed look across. EXT nights I would still shoot on 7218. Any comments are appreciated, as I have to go to Kodak very soon... Thank you,

You will probably go with the big 18K or a 12K HMI PAR. Throw a 1/4 or 1/2 CTO on it. I find the bare HMI to be "too blue" on tungsten...

Hi, Let me make corrections on my post above. I thought you were speaking about a different forma, and aa there is NO LOSS when going trough FireWire, an SDI 10-bit info would give you material in such format that it is better to work with, more forgiving, and less prone too artifacts then what you import via FireWire. And yes, it will require a lot of bandwith. Altough, I was able to input 10-bit uncompressed NTSC via FireWire800. I have a RAID set-up too - but FW800 seems to work just fine... Cheers,

I know there is a Hasselblad to PL. I'm looking for one to try out. Does anybody have experience with this. Hasselblad has soem really nice 150mm and 80mm lenses. They are a bit slow - but hey - it might be worth a shot. I got adapters to use my Hasselblad and Leica lenses on my Canon 10D.

Hi, whatever you captured via FireWire is a down-conversion. That means it is not the full quality material, and it does not contain all the info your master does. You do want to go back to camera originals and re-capture using a high-quality capturing card, and if you don't - yes - you will be amking a major quality compromise. A lot of decks that play DVCPro50 offer FireWire output. It is not a full quality signal, but rather a down-conversion. Hope this helps.

Hi David, the movie is, for some reason, not playing. I have a Mac w/ Safari browser, all up to date. Cheers, george

Hi, we've been lucky enough to get the Panavision new filmmaker grant - and before I go back to them and ask them more questions and favors I thought better to put the question out here. If I aks Panavision to modify the camera body for 3-perf shooting, will the SuperSpeeds that come along with the package cover the Super35 frame? Thank you,

Go with Vision2 - it is a significant difference. I shot a film with '18 (for inside) and '45 (for outside). It came out pretty good in terms of matching, and '18 did not stand out as grainier stock, especially bearing in mind that '45 was the finest grain stock at the time.