Jeff Tanner

IMHO there are far too many variables to give an "EXACT" and "TESTED" value for ASA of the Varicam. Maybe these values are for the "factory settings"? Once you start changing dynamic range, white clip levels, black levels, shadow detail, etc. you can throw those values out the window. Not to mention the extreme differences in FILM REC and VIDEO REC settings. I can make the ASA change from 500 to 100 without changing the filter wheel at all by adjusting a few menu options in the software. That is why when the question arises about the varicam's ASA, people give a range of values. Saying that the ASA values are set in stone is not accurate...this camera can be anything you want it to be. Use your eyes (and a monitor) and look at the image and don't worry about setting your meter (if you use one) to a particular value. Respectfully, Jeff Tanner

Bob, Film Rec is what I would recommend. As mentioned, the dynamic range controls are a big plus over the video rec settings. Also if you ever need to use the "black stretch" settings to reach into the shadows a bit more, the film rec mode handles it better (doesn't seem to alter anything but the deep shadows). In the video rec mode "black stretch" seems to affect all aspects of the scene...shadows, mid-tones and highlights...giving the entire scene a washed out appearance. This is just a personal observation based on my experience, others may beg to differ. Respectfully, Jeff

I have never encountered a menu item that will allow the camera to run at 23.97. I quickly flipped through my Varicam manual and didn't find any information about shooting at that speed. I'm not saying that it can't be done somehow, but I've never seen/heard of it. 59.94 Hz seems to be the standard (at least with our editors). Hope this helps. Jeff

My company is selling a Losmandy doorway dolly. It can be viewed at this link http://cgi.ebay.com/Losmandy-doorway-skate...1QQcmdZViewItem Respectfully, Jeff Tanner

Bob, When I just read your post I couldn't believe that there were no Varicam settings for download on the internet...so I searched. You're right. I have 6 different settings that I've created or modified (the Panasonic rep gave us a few when we bought the camera) for our Varicam and I've never thought about searching the web for more. Until now ;) If you're in a pinch and would like some settings to look at, I can send you a few different looks (including a psuedo Kodachrome). They're just text and if you have a SD card reader/writer, it's a breeze to get them into the camera, just copy and paste. They're far to long to post on this site but maybe I'll start a web-page where we can share settings. Jeff Tanner

Bob, My company has a Varicam and there is no easy answer to your question. It all depends on your user settings. If you initialize the "factory data" I would rate the speed at about 500 but the picture looks like hell. In one of the user settings that I have created...using the "film rec" settings and shooting at 24fps, I rate it at 320. I have played with the "video rec" settings and adjusted everything else to my tastes and I found that the camera could be rated as high as 800 without having to use any electronic gain. It's not the richest picture that you've ever seen but it's not washed out either. It's a great camera and extremely versatile, I absolutely love it. You will too. Regards, Jeff Tanner

There is an ongoing argument about grounding generators... According to what I understand of the NEC (National Electric Code) portable generators should not be grounded to earth at all. However, there are reputable Gaffers, set-electricians and certified electricians who all give different answers. Some say grounding is a must, some say it is extremely dangerous. Here's a bit of info that I received from the CML: The complete discussion can be found in the NEC in section 250-6. It is possible that the provisions of section 530 can also apply to remote locations the way they apply to studios, and this depends on the local inspector. it is ILLEGAL to ground a generator being used for motion picture use - in fact you must make sure that the safety chains are not touching the ground. The only exception to this is if you are powering equipment that is hanging on a metal structure or grid where you are concurrently powering your equipment from "house power" in which case the gennie should be grounded also. A C stand arm pounded into the sand is not a ground. Oh, yes, and all the rules change above 600V.... but that's another section of the NEC altogether. Check with some certified electricians in your area and ask them about NEC or local codes for grounding portable generators. This is not an issue to take lightly with so much electricity and so many people working with/around it. Again, a c-stand arm is not a proper ground for anything. Respectfully, Jeff Tanner

I saw the program "Iwo Jima" last night on Discovery's Military Channel and Bob Hayes was credited as the DP. Would this be the same Bob Hayes that posts here on this forum? It was a wonderful documentary show about WWII vets returning to Iwo Jima after 60 years and the emotions that they experienced setting foot on that small island again. Amazing what those guys went through to control the small island in the Pacific, over 7000 US soldiers killed in action and several thousand more wounded. In any case, no matter which Bob Hayes shot the show I would like to publicly say "well done". Respectfully, Jeff Tanner

I find it pretty easy to mask the video assist monitor to 16x9 with black paper tape. This will allow you to see the difference in the viewfinder and the 16x9 mask with just a glance at the monitor. After a short while you will become comfortable framing through the viewfinder allowing for the 16x9 cropping. Of course the best option would be to use a Super 16 camera with the proper groundglass markings but I know how it goes...sometimes you just have to play with the hand you're given. Respectfully, Jeff Tanner

First you need a video tap on the camera (video assist). This is the only way to monitor what the camera is seeing without looking throught the viewfinder. Once you have a video tap, you can hook up any kind of recording device that you desire...clamshell, VCR, studio deck, computer, etc. Keep in mind that the signal is for reference only...it will have the groundglass markings and any other information visible through the viewfinder. Hope this helps. Respectfully, Jeff Tanner

Personally, I would never trust a chart or guesswork when attempting to balance flourescent lights. There are too many manufacturers, too many different types of bulbs to rely on a chart. I have seen bulbs out of the same box that have slightly different CC values. Flo's are frustrating. The link that you posted actually says to use a color meter...that's the only way to be sure. In a pinch I'm sure that you could rattle off a few digital photos with several different degrees of color correction, but even that will be suspect to slight color shifts on the film as opposed to a digital photo. Video obviously is a whole separate issue...you can look at the monitor until you get the desired balance. Owning a color meter is a must in my opinion if you shoot film. Unless you can talk your gaffer into buying one instead ;) Respectfully, Jeff Tanner

Should I plan a cinematography.com get together for Monday or Tuesday night? I'll be able to attend if it happens Monday night. I'm only there for one day...Monday. Jeff Tanner

Phil, In addition to what the others have brought up... This is a case of the importance of telecine. Magic can happen in the telecine suite with the right colorist...dare I say the colorist is far more important than the machines. In just a couple of hours you could re-transfer your selects and make the scene(s) look completely different (if that's what you want). There is nothing wrong with the way you shot the scene, everyone just has a different approach to lighting styles, art direction, set dressing, camera angles, etc. Quit kicking yourself, this is nothing to be ashamed of. I don't care for the man and woman's thick British accent though :) Respectfully, Jeff Tanner

Check with PC&E in Atlanta, they have most anything and they are probably the largest rental house in the southeast (minus Florida). www.pce-atlanta.com Jeff Tanner

Norris Film Products makes an intervalometer that mounts to an SRII. It works wonderfully and I have used it many times on our camera. It attaches to the operator's side of the camera body and uses the manual inching knob to advance the frames. If your intervals are greater than a few seconds, you will also need the capping shutter that fits onto the camera rods to prevent light leaks around the mirror/shutter. It is an easy bit of kit to use...it must be if I can figure it out ;) Jeff Tanner

Amen. Jeff Tanner

Tim, I too would like to thank you for the service that you provide to us FREE OF CHARGE! This forum has been a wonderful place for us to ask questions, answer questions and discuss cinematography. As for improvements...I'm not sure. It's easy for me to skip over messages that are blantant "flames" or rants from inexperienced people and I would hate for a legitimate post to be denied simply because it was not signed or was from an unregistered user. These posts don't clog up my inbox so sifting through them isn't really that big of a deal for me. Anyway, keep up the good work and thanks again. Respectfully, Jeff Tanner

Pointless? If you like the look of bleached muslin, you would love unbleached. Want a soft source? Use a 10K or 20K tungsten fresnel through a 12x12 unbleached muslin. Now that's some high quality softlight. Want it even softer? Bounce a 20K tungsten fresnel into a 12x12 muslin. I saw Roger Deakins bounce 18K HMI fresnels into 20x20 unbleached muslins for a scene in "Oh Brother Where Art Thou". I remember saying to myself "why in the world use a muslin as a bounce? Seems like more light passes through the fabric than bounces off of it." And then I went inside and looked at the scene and said "Oh... THAT'S why!" It was simply amazing. Mr. Deakins knows a thing or two about lighting. If you have the firepower available there is nothing like an unbleached muslin. Respectfully, Jeff Tanner

"a optex S16 4mm T1.9 (expensive)" I've used this lens a couple of times. It's a great lens in S16. It will intercut with your lens (or any for that matter) just fine. Especially when you're going to telecine. It is not really a fish-eye lens though, not like the 35mm fisheyes anyway. There isn't as much distortion as the 35mm lenses have, but there certainly is some. As for people sticking their faces in the mattebox, forget it. You won't be able to use a mattebox, the lens sees about 140 degrees so if you're using specialty filters ask the rental house for solutions. I've yet to find a good one due to the fact that the front element sticks out farther than any other part of the lens. Hope this helps. Respectfully, Jeff Tanner

Although this is an animated movie, I'm sure that there is room for discussing it on this forum. As a cinematographer I have had the opportunity to shoot many commercials that involve computer animated objects, animals, characters, etc. so I certainly have an appreciation for all the work that goes into producing a movie like "The Incredibles". As I sat in the theater waiting for the feature presentation to begin I honestly didn't know what to expect. I knew the basic plot but that was about it. Normally when I sit in the theater and watch a movie I can't help but study the lighting, camera movements, continuity, blocking, locations, etc. (like most of you I'm sure). But this was a departure for me. From the first scene to the last I was totally immersed in this movie. Every little detail was perfect, every scene had purpose, every character was well developed, and every frame was amazing to watch. If you normally stay away from animated movies because you think that they are for kids, do yourself a favor and catch this show in the theater. This is a fantastic movie! You will not regret it. Respectfully, Jeff Tanner

- Millennium Machine with resolutions up to 4K and the capability to handle film formats from 8mm to 70mm, DaVinci 2K Plus Color Correction - Spirit DataCine, Pandora Pogle Color Correction with HD/SD Pixi, Philips VS4 Noise Reduction System - Cintel URSA Y-Front 4:4:4 Component Digital Telecine with TWiGi and SCAN'dAL, DaVinci Renaissance Color Corrector and Meta-Speed digital servo system Transferring in Dallas, eh? I've done work on all three of these machines. The Millenium does have a "warmer, softer feel". David put it well...the Spirit and it's chip technology looks more "video-ish" to me. I've been very happy with the results on the Millenium and DaVinci 2K. I personally would stay away from the Y-Front. It was a great machine back in it's day but there is no comparison to the Millenium or the Spirit. Especially in 16mm. Spend the extra money in transfer...you'll be glad that you did. Jeff

Phil, We've been over this before. It's obvious that you have some deep personal problem with unions...okay already, we get it. However, millions of people in THIS country (USA) benefit greatly from their affiliations with unions. And yes, even motion picture unions. Making it difficult to join a union is a benefit not a hindrance. While I was a member of a local Studio Mechanics union I was glad that it was tough to join because it kept every Tom, Dick and Harry from joining my union on a whim which in turn keeps the enrollment full of QUALIFIED people. I did my part to get accepted to the union and so can anyone else. And to answer the original question; yes you can work on union shows without being a union member. There are about a dozen features in production or pre-production in New Orleans and they are all union shows but I know many people working on them, in various positions, that are not members of a union. Now in Los Angeles they might be a bit more strict about hiring only union members but that would simply be because there are so many members and the unions have to look out for their own. It's really a business decision more than a "mob" mentality. Jeff Tanner

"...I used 5277 to shoot some night scenes of New York's Times Square this year. The aperature was 3.5, the widest the lens would go. It was pitch black, except for all the neon lights..." I feel certain that your negative was underexposed. 5277 at night will require superspeed primes at least. I'm thinking T1.3 at 24fps with 5218 would suit you better. Jeff

I'd switch labs. -Sam Cute, but it's not the labs... It's the film. See John's earlier post. Roll out your next roll of film and tell me that there are no particles visible on your transfer in the last 15 or so feet. Less visible in 35, but still there. Jeff