Jeff Tanner

I'll throw in my $.02 There is no such thing as "you must..." in the film industry. Except of course when it comes to the safety of cast and crew. Being a cinematographer is an art and you use the tools at your disposal to achieve the look you're after. If you want blown out whites, you certainly don't expose for them. If you want deep blacks, you don't expose for them either. In short, there really are no rules. You have to know what you're after. I know that this may seem like an answer without a real answer but I hope that it helps in some way. Respectfully, Jeff Tanner

Rifa lights are fantastic. But just like every other lighting instrument ever invented, it has it's place. The Rifa will not be a revolutionary lighting tool for you but they are excellent for producing a quick, soft, tungsten light. My favorite feature is the ability to change out the lamp socket for different types of bulbs (standard two pin FEL lamps, or medium base, or candelabra, plus others). I've been very happy with ours. Respectfully, Jeff Tanner

My thoughts and prayers go out to John's family. He was a very knowledgeable man and loved sharing his knowledge with all of us and he did it in such a polite and kind hearted way. He will be sorely missed. Respectfully, Jeff

Thanks for the information. I'll get some units in and set up a day for testing. Jeff

I'm involved in a tv series that will be shot on a stage for about 5 weeks. We're looking for a good, reliable video transmitter system that we can use to send the video assist signal out to numerous monitors in other parts of the building and outside to a production trailer. Are there any manufacturers or models that would be recommended for this application? Any to stay away from? Thanks in advance. Jeff Tanner

John, You will continue to be in my thoughts and prayers. As a native (and longtime resident) of Brockport, NY I hope that the end of winter and beginning of spring lifted your spirits a bit. I know that spring was always a welcome sight when I lived up there. There are a lot of people spread all over this planet wishing you a full and speedy recovery, this forum is a small testament to that. Take care of yourself and get well soon. Sincerely, Jeff Tanner

I've been under the impression for many years that this was a forum for discussing cinematography. Please gentlemen, let's no go down the road of personal insults...there is nothing to gain by insulting one another on a "professional" forum. Now back to the topic at hand. Comparing screen grabs from one movie to another or one commercial to another or one student film to another does absolutely nothing in the way of comparing camera systems or mediums. The only way, in my view, to compare is to perform extensive side by side testing photographing the same subject under the same conditions. I can find hundreds of thousands of examples on either side of the "which format looks better" argument on 35mm, super 16mm, 16mm, HD, Digibeta, BetaSP, mini DV, etc. Picking a good looking shot with a saturated blue sky, or overall desaturated image, or a sunset over the Pacific has no relevance in a discussion about technical specifications...unless you have the same shot captured and color corrected in similar fashions on each format. What I consider the best looking shot ever captured on a camera will not be the same one that you would pick. This seems pretty basic to me. Please, keep on topic. It makes for a much more informative forum. Respectfully, Jeff

David, I'm glad that you had the opportunity to see the RED ONE. I had a feeling that you would be impressed. As I mentioned in another post, I went to NAB for one purpose...to see the RED camera and get some real information for myself instead of reading opinions about it. I fully expected to walk out of the booth knowing that the RED was a good start to a good idea but wasn't quite ready for high-end production work. I must admit that I was wrong. The footage in the demo was a great "real world" test and showed that the technology works. I would like a serious testing session with their lenses however. I'm not suggesting that they are inferior but I do want to see an in depth test of their performance versus other cine lenses. As I've said before, this camera will change the way that my company works and I'm excited about the future of digital aquisition. Respectfully, Jeff

I await your personal testing. I'm eager to know what someone of your stature thinks. All that I can say is that this camera will render 35mm obsolete for my commercial/tv programming/documentary work. Respectfully, Jeff

This camera is fantastic. There is no argument to be made about it's existence, it's capabilities, it's technology, or it's price. I've seen Peter Jackson's film that was shot with two RED camera's and it was spectacular. Film has a special place in my heart and always will but after putting my hands on the RED and talking to the people who built it (who answered every question that I had...in great detail) and seeing the demo film shot with it, there is no question that this camera is the real deal. If you can honestly say that the RED camera does not meet your specifications after viewing the demo and playing with the camera yourself, then don't buy one but stop all of this unfounded speculation on it's shortcomings or problems that you percieve. I honestly believe that there is little reason to shoot 35mm film anymore and no reason whatsoever to shoot 16mm or super 16mm. I am stunned by what I saw at NAB today. So stunned that I've ordered a RED camera for our company. I am by no means as technologically saavy as some of you are but I judge by what I can see and this camera meets every criteria for me. Respectfully, JT

John, Keep your spirits up. I firmly believe that a positive mental approach can do wonders for the body. You will be in my thoughts and prayers. Get plenty of rest and here's wishing you a speedy recovery! Sincerely, Jeff Tanner

Although it's been a few years, I have shot on the strip in Vegas at night. My best results were WIDE OPEN and I still wish that I could have used super speed lenses. From the air, you will want to be wide open for sure...especially in 16mm. It's easy to "print down" but if you try to push 16mm it will fall apart quickly. Seeing the neon will be a no brainer but you want to see the buildings themselves too so get as much information as possible on the negative. Respectfully, Jeff Tanner

It's pretty simple in this case... Resistance = Heat Either in the stinger or the ballast power cable there is a bad/old/corroded connection. Snip off the burnt ends and replace the connector with a new one. It will be as good as new. Respectfully, Jeff Tanner

I think its the only 16mm & 35mm lab in the area. Filmworkers Club in Dallas also has their own lab and transfer to SD and HD via Spirit. Check them out. Respectfully, Jeff Tanner

My SRII has a 172.8 shutter angle because of its conversion to super 16. The original mirror/shutter was a 180 degree shutter and with the wider gate of super 16 the mirror would not clear the gate long enough for a frame to be exposed properly. That is one reason for a 172.8 degree shutter. Like Dominic said, the difference in motion blur will not be noticable. Respectfully, Jeff Tanner