uva_canibal

An d I think the most important of this collaborations it's Welles-Toland, because we can say, that it was the first time in the history of cinema, that a director and a cinematographer share their knowledge, and put it in to the dramatic universe of the film.

Sacha Vierny-Alain Resnais, Sacha Vierny-Peter Greenaway, Figueroa-Buñuel, Figueroa-Indio Fernández

Welles-Toland, Welles-Stanley Cortez, Welles-Lawton. Delmer Daves-Lawton, Ford-Lawton

I saw these filters in the ASC store web page. I´m interested because: "These specially shaped Lenslets in this filter?s interior are arranged in a computer randomized matrix that prevents moiré patterns and other artifacts associated with the beam splitters and pixel-ccd sensors used in today?s DV-HD Capture devices." Anybody has the opportunity to work with these or similar filters?

Thanks

Hugo Villa:

Esta es la cámara con la que se filmaron las grandes obras de la "nueva ola francesa". Trátala con respeto. Raoul Cotard filmó con ella, "Sin Aliento" y Henri Decae "Los 400 golpes". Antes de comprar cámaras encuentra buenos directores con ideas que filmar. Si tienes eso, hasta una beaulie de super 8 hará bién su trabajo.

Un abrazo

Hi everibody:

I am a director interested in the quallity of the image. The other day talking with a fellow DP, he told me that in recent times he has been shooting all his material with the shutter at 172.8 angle. This because, he said, it´s the same shutter angle that Kodak´s technicians uses to shoot all the tests for their film stocks. The result it´s a different cadence in motion, and more definition and crisp quality. I really take a look in his material and it was excellent, but I will need a side by side procter and gamble demo, to see the diference, and I´m not have the resources to do that. So here I am, asking to the experts, and anxious to hear their opinions. Thanks!