George Lekovic

Yes, also bear in mind that 7279 is a (lot) grainier stock than the new 7918. comparing the two side by side might not give you the best reference point. old '79 is ok on 35mm, but on 16mm any type of transfer will show grain. new vision2 '18 tends to be much better - i rate it a bit below 500.

Look at the german "Shultze gets the blues". Not only there is no camera movement, but midway through the film when the main character decides to go on a trip camera pans for the first (and only) time and that works just great. By this very simple pan the audience that is used to static shots is thrown into discomfort to forshadow the voyage that is about to take place. A must see. One of the better films of the last year.

Beside the difference in the type of film & emulsion, there is significant difference on how the image is layed on the film. In still SLR cameras the image is projected sideways, meaning that the top and bottom of the frame are along perforations. In the motion picture film the frame is layed the other way (90 degree angular displacement) - it is the right and left sides of the frame that find themselves along the perforations. This results in motion picture frame being smaller that the still camera frame. hope this makes sense.

Hi, about a year ago my AC mistakenly loaded reversal stock into the camera, and we shot a whole roll on a very sunny day. Essentially I overexposed by a stop, did a snip test, it looked fine, and pulled one stop. I was worried about it being reversal, 16mm, etc... but after having seen the test and being able to see white hairs in a black beard, and also being able ti see details in highlights I was quite happy... Two stops of underexposure might be a different story alltogether... george

Hi everybody, I am researching to see if I could use my Hasselblad lenses on my 35 and 16 PL mounts - if such adaptor exists. If this turns out to be possible I wonder what woudl the results turn out to be like. First of all: is this even a theoretical possibility. Second: Would the lens have enough resolving power to accomodate 16 or 35. If anybody has already tried this, or knows where to get the adaptor, please share. Thanks,

i second that. kudos.

David, Congrats on the ASC March Issue Close-Up interview. thanks for the tips.

Hi everybody, I'll be shooting a scene around a carousel in Central Park in NYC or in Prospect Park in Brooklyn - depending on which location we get. Thing to do is: a downpour starts in the middle of the scene, before the two run off into the carousel. the first thing that comes to mind is 'Manhattan' - a scene where it is already raining - and they did a pretty good (and extensive) job at making it look good (and real). Myself, having little experience with fake rain, am asking you all guys for an advice. I need any tips or tricks. I know roughly how to pull this one off, but need to know what specific equipment I might want to use, do I need access to fire hydrants, your good and bad experiences, do I need to waterproof the crew, etc... If you know any good rain rental places in NYC it would help. Thanks a bunch,

Thanks a lot guys. I'll do the test and let you know how it went. Yes, Panavision odes carry Zeiss, Primos and Cookes. David: the Cooke zoom I'll have is not 5:1 but 10:1. It will probably match as well. I also have a rain question, that might have been placed in wrong category. Need to find a good way for a rainy day in central park... Cheers,

Hi everybody, I'll be shooting a scene around a carousel in Central Park in NYC or in Prospect Park in Brooklyn - depending on which location we get. The trick is: a downpour starts in the middle of the scene, before the two run off into the carousel. the first thing that comes to mind is 'Manhattan' - a scene where it is already raining - and they did a pretty good (and extensive) job at making it look good (and real). Myself, having little experience with fake rain, am asking you all guys for an advice. Also, what rental houses in NYC rent rain machines/towers? What do we need in term of permits, acces to hydrants, etc... Thanks a bunch, george

Hi everybody, I have a 15 day shoot in late may. The Panavision package we secured (thanks Pana) will come with the set of SuperSpeeds: 14, 17, 20, 24, 29, 35, 40, 50, 75, 100, 150 + 10:1 Cooke zoom. Before I go and shoot extensive tests, I wanted to kindly ask for an advice: I shot with Primos before and loved them ? very sharp. I was wondering of testing Cooke S4s as well. Are SuperSpeeds inferior to Primos and S4? Are there any lenses in the above specified package that I should look out for. How will 10:1 Cooke zoom match the Zeiss primes? Thank you (oh so very much), george lekovic www.kinokamera.com

Hi, since you have that "glow" from the plexi on the sides, use it to justify a stronger light source. When you move in to shoot a SRS, take an inkie or a peper + opal to create a nice rim light around your actor. It will end up looking as if the glow is creating this (rather strong) rim light. You can use the same rational to model the backs of your actors for the establishing shot. Your wall also does not have to be flat. You can paint it in different shades of the same color to simulate the light dropoff - to accentuate that the source is above them. Just a thought. Good luck. ~george

even DVX100 has settigns for black piedestal - once you raise it it will preserve black areas from fogging and will leave them black.

Hi, I just updated my reel. Wonder if you guys, or girls can give me any feedback on it. Much appreciated. Here is H.624 compression http://www.kinokamera.com/MPEG/DP%20Reel%20H264%20HI.mov and here is regular QT http://www.kinokamera.com/DP.html If trace back to the page you'll find other samples and Windows Media too. Much, much appreciated. ps: Jody Lipes' reel was awesome (in dictionaries awesome=sublime)

Thanks, That was the way I wanted to go woth in order to capture HQ footage. Do you know which cameras are acceptable and which are not. I have access to D10, S2 and S3. Thank you.

Does anybody know of a software that enables timelapse capture straight to the hard drive. Interval-recording option on small 3CCD DV cameras records few seconds every once in a while, as they are unable to capture one frame at the time. But when camera is connected to computer via firewire it should be no proble for a computer to capture one frame at the time and make for nice time lapse photography. Is there a software that does this. Could still camera work too? Thank you.

For some odd reason I remember 'Saving Private Ryan' being shot with a very high shutter angle. I might be wrong. :blink:

Two also worth mentioning: Jordan Cronenweth :: Blade Runner Marcello Gatti :: Battle of Algeres

If I am not mistaken it is 'behind the lens net' + smoke.

If you don't need much stuff, check out Film Friends 16 E17th Street 212 620 0084 Small and flexible rental house. Good Luck, George Lekovic Director Of Photography george@kinokamera.com www.KinoKamera.com