Jana Slamova

Hello, I want to learn as much as I can about all the proffesions in film crew. I have found a lot of books about directing, DOP, editing, grading, SFX, lighting etc etc, but after googling for a long time, it seems that there is no book for future line producers about line producing. At least I can't found it. Do you know some book, from which I can learn as much as possible about line producing?

Thank you all for all the replies, but mostly I want to say thank you to Dave Mullen!! Your explanation is great and full of useful informations, as always!! I can't belive there is someone who have so huge knowledge about film stock stuff like you... You are human encyclopedia! I hope some day I will have at least 5% of your knowledge. Many thanks for sharing the knowledge here on Cinematography.com!!

Thank you so much, great link! So every color film ever made (with exception of the very first Kodacolor) have that orange masks to eliminate unwanted exposition of the individual color layers, right?

Was the color camera negative always terracotta-orange and b&w camera negative always clear and transparent?

I know that todays developed camera negative have orangish terracotta like coloring, orange is perforation and also the image itself. But was the negative always orange? Is it possible that in 1960 and sooner they have used B&W negatives, that was without any coloring, clear and transparent?

This is how it is!! It sounded really strange to me, that they will waste 1/4 of that extremelly expensive film stock when shooting Super35. Thanks for your reply David!! Now it makes sense!

This is how the negative should really look: Which one is correct?

When you shoot on Super35 4-perf camera negative, and your intended frame aspect ratio is 2.35, is the whole 1.33 film frame frame filled image informations, that is cropped to 2.35 in postproduction, or the image is already cropped to 2.35 on the negative, and upper and lower frame parts is black (letterboxing)? I have included an image for better understanding. How looks the Super35 camera negative, like image A or B? EDIT: I know the negative is usually orange and the colors of image should be inverted, please ignore this mistakes

Thank you all for great discussion full of interesting informations and knowledge!! I have learned a lot!!

Topic title says it all - are 2.35:1 films always shot with anamorphic lenses, when using 35mm film stock, or more often they use just cropped field?

Generally, what is the main visual difference between raw image on camera negative and final distribution copy processed through the whole film editing workflow (beside of that the colors are inverted)? Lower contrast and saturation on the camera negative? Some tint?

Yes, "film chain" that feeding film directly to camera, this is exactly what I have looked for and can't find nothing relevant!! Thank you so much Dan!! There are lot of interesting stuff to read about this on internet.

I've got few questions about TV broadcasting from 35mm film stock. What device is (was) used for transforming the 35mm film to the TV signal? How is called the film stock designed to broadcast on TV, not for screening in cinemas? In what period of time was used 35mm stock to broadcast on TV? Was some TV shows broadcasted from 35mm film even in 90s or 00s? I hope my question is in correct subforum.

Thank you David, great reply as always!!

I know there is something much better than Kodak 2383/2393 or Fujifilm 3510/3513, that is used most times for screening in common theathers. The stock, that is used for screening at special special occasion, gala premieres, etc. What brand and what type is this very-best-high-end film stock used today, and what type of stock was used in earlier times for occasions like this? I would be very grateful for every film stock you can remember, I'm trying to put together huge list of high end film stocks, contemporary and also historical.