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Dan Finlayson

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Dan Finlayson last won the day on May 16 2015

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About Dan Finlayson

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    Los Angeles, Boston
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    Moviecam Compact, Arri 35-3, Sony a7s

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  1. Tyler, I think you need to redo your math/spreadsheet. I would guess $750,000 for stock also includes shipping costs. Production shot in Columbia so the film probably had to be shipped again to process. Daily international film shipment isn't cheap.
  2. They merged in 2009. Today they go by "Rule Boston Camera", "Rule", or "Boston Camera". BC was originally all film, and Rule was all broadcast - neither were really equipped to handle digital cinema (i.e. Red, Alexa, etc) and so they strategically merged and pooled their resources - Rule's capital to invest in camera bodies + BC's inventory of PL glass.
  3. I can't say too much about the specifics, but I believe in this case the blame falls on Disney primarily. Striking the prints was a last minute decision.
  4. A friend saw it today on 70mm, interesting that they no longer flag the theater as 70. I suspect that theater owns the projector so they're just holding onto it for this sort of thing. I bet Dunkirk will screen there on film.
  5. I don't know if anyone addressed this later in the thread, but this is not accurate - I saw RO at Universal on a 70mm print. I know they previously installed laser projection at that theater but I guess they kept the old projector.
  6. I like the processing/scanning samy's does as well
  7. A BL would be a bit heavy for handheld though. I own a Moviecam Compact and love it. Never heard of light leak issues with the SL, but the noise is definitely a factor.
  8. 1) You'll definitely need a follow focus, there won't be enough room for a hand to pull off the barrel with a matte box on there. 2) Something rail mounted, MB-19 or MB-20 3) Be careful with wide lenses on the 35-3. I own one (though its in another state right now) and the rental house I bought it from warned that the mirror is at a different angle or position or something than later cameras (like the 535, 435, Moviecam, etc) and that some older wide lens can actually touch the mirror. If a lens were to touch when you roll the camera, you would destroy both the camera and likely the lens. I can't speak for the 25mm Cooke Speed Panchro... maybe someone else on here has some more specific info on this
  9. Haha I used crappy old lenses! But I like crappy old lenses and I captured 4k not for a 4k finish, but a clean (but softened) 1080p finish. That extra resolution will give the director room for 10-15% blowups without anyone noticing. And I'd rather have more control over the sharpening applied to the image than to let the body sharpen the 1080p output for me.
  10. I've done it. I haven't done the color work on the project yet, but my on-set experience with it was fantastic. Definitely use a cage and devise a way to protect the HDMI connector on the camera though - I didn't have any problems but it seems like something you could easily break
  11. Good light when diffused, subpar build quality - too much plastic.
  12. The main reason film is more forgiving on critical focus is not the potential for the film to be transported at slightly different depths, but the face that color film has multiple dye layers. Each focuses at a slightly different depth. This gives a nice natural roll-off of focus
  13. I have an a7s and usually opt for APS-C because I like super35 over vista vision for most things I shoot. Also, I highly recommend a stabilized lens. I have the 24-70 zeiss zoom and the stabilization completely eliminates the shaky handheld jello effect of the rolling shutter. Make sure to shut it off if you're on sticks though, as it will try to eliminate subtle pans and tilts.
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