John Pytlak RIP

Glad to have helped. Most likely they will have reasonable quantities of film for the A-Minima in stock if there are other A-Minima users in the region. I don't have access to our worldwide computerized inventory system, or I could tell you now.

The Kodak technical representative for Hamburg is Holger Schwaerzel, holger.schwaerzel@kodak.com Telephone: +49 (0) 40 / 66 99 34 44 Here are the German contacts: http://wwwde.kodak.com/DE/de/motion/support/service.jhtml Technical http://wwwde.kodak.com/DE/de/motion/about/about.jhtml Sales

Check out the Kodak Student Filmmakers website: http://www.kodak.com/go/student Good publications to give you insight into filmmaking: http://www.kodak.com/US/en/motion/educatio...1.4.9&lc=en And articles from film schools: http://www.kodak.com/US/en/motion/educatio....4.11&lc=en Also try the University Film and Video Association: http://www.ufva.org

Lenny Lipton has written several white papers: http://www.reald.com/resources_download_whitepapers.asp Some good leads here: http://en.wikipedia.org/wiki/3-D_film http://www.answers.com/topic/stereoscopy http://www.siggraph.org/publications/newsl...n1/makingitreal 3D rigs have been made for both film and digital cameras.

Condi's job responsibilities do not include protecting "all American Citizens from disasters, manmade or otherwise". However, I do hope that she finally realizes that her job is to help bring peace to troubled regions of the world through diplomacy.

Check with your local Kodak sales representative at the Kodak NYC office on 360 West 31st. Street, near Madison Square Garden (212-631-3400). You may be eligible for discounts. (e.g., For a student film or PSA).

Kodak Canada has an online directory of labs and transfer houses: http://wwwcaen.kodak.com/CA/en/motion/supp...1.6.4&lc=en The Kodak Canada team is well connected to the production and post production community in both Montreal and Toronto. Give them a call: http://wwwcaen.kodak.com/CA/en/motion/about/whoWeAre.jhtml

Not sure if the Kodak Display Manager System has LUTs for Plasma displays: http://www.kodak.com/US/en/motion/products....4.24&lc=en http://www.kodak.com/US/en/motion/products...24.10&lc=en http://www.kodak.com/US/en/motion/products...24.20&lc=en Contacts

Kodak has a directory of transfer facilities, with information on services offered provided by each vendor: http://www.kodak.com/cgi-bin/US/en/motion/...t/tfLocator.cgi At least it gives you a list of contact information, to call around for services and a quote.

The E100D is a good choice for the "look" you want: http://www.kodak.com/US/en/motion/products...4.6.4&lc=en http://www.kodak.com/US/en/motion/products...l/5285faq.jhtml Q&A

Most commercial theatres are capable of showing 35mm prints with optical sound, and perhaps one or two of the digital sound formats. Most theatres have the lenses to show 1.85:1 "flat" and 2.39:1 "scope" formats, and some theatres can properly show other aspect ratios like 1.66:1 or 1.37:1. Worldwide, there are well over 100,000 screens equipped for 35mm projection. Digital Cinema is growing, and now can be shown on about 1 percent of theatre screens. 16mm projection can be used for moderate size screens, but is not commonly found in commercial theatres. 16mm projection once was the mainstay of the non-theatrical and school market. Super-16 is very well suited as a lower cost production medium for television, especially when images are displayed at the HD 16:9 aspect ratio. As others have noted, the costs in "blowing up" a Super-16 production for 35mm release can often be deferred until a 35mm distribution deal is made.

25.4 millimeters = 1 inch is an exact relationship. Lens f/stops increment as the square root of 2. The usual sequence is: 0.7, 1.0, 1.4, 2.0, 2.8, 4.0, 5.6, 8.0, 11, 16, 22, 32, 45 Lots of lens and optic tutorials on the Internet, some by individuals: http://en.wikipedia.org/wiki/F-number http://www.kevinwilley.com/l3_topic01.htm http://www.mir.com.my/rb/photography/fotot...tmls/depth.html http://www.mir.com.my/rb/photography/fotot...er/aperture.htm http://www.uscoles.com/fstop.htm http://www.shutterfreaks.com/Tips/ControllingDOF.html http://www.cybercollege.com/tvp010.htm

Most cinematographers know that. :) Unfortunately the production companies usually forget that "Size DOES Matter" when it comes to formats and image quality, whether it's film or file size. Not sure how many "beancounters" have seen how good larger formats can look on a big screen, or know that 4K really makes a significant difference in image quality.

Getting back to the original topic, we can only hope that the news organizations covering war help show it for the horror it is, helping bring it to an end. Honest news coverage can lead to long term solutions to the conflict, and hopefully peace. The people behind the camera and who make the editorial decision of what to show have both a responsibility and an opportunity here.

Quartz? (i.e., tungsten-halogen lamps)

I'm pretty sure the cinema grade Digital Cinema projectors that use three DLP chips produce an image that has minimal flicker issues when rephotographed onto 35mm film. Tone scale and color reproduction will likely need to be adjusted. Usually, the white point is near D6500K.

Kodak did its part in reducing the use of ozone depleting substances too: http://www.epa.gov/Ozone/awards/03winners.html I led the project that developed PTR film cleaning for motion pictures, now used by most film labs and telecine facilities around the world.

As I recall, the last dye-transfer release of Oz a decade ago had the sepia-toned B&W reels printed on Kodak color print film, and the color sections were dye transfer. In modern theatres, intercutting silver image B&W and color stock is usually not a good idea, because some adjustment of focus is almost aways needed because silver images absorb much more infrared energy than dye images, and so curl differently in the intense beam of the projector lamp. In the 1930's, the projectionist was right there to touch up focus at the reel change, today, the "booth usher" may be taking tickets or cleaning the restrooms. :rolleyes:

As I wrote, the closing credits on "An Inconvenient Truth" outline "little" ways we can all help reduce global warming. I've already replaced most of the tungsten lightbulbs in my home with compact fluorescents. My A/C is almost always set above 80F. I've installed a high efficiency furnace, and upgraded my weather stripping and insulation. Although my vehicles are all efficient four cylinder models, I definitely plan on getting a hybrid vehicle next time. I pay a voluntary surcharge for "green" wind power, available in New York State. My pool has a solar heater. Etc. Those wind turbines being built on the hills southeast of Rochester are actually beginning to look nice. ;) To begin a journey, you need to take the first step.

Unlikely to get most labs to run a special B&W process for tinting or toning. Don't overlook printing your B&W negative onto color print stock, where you can deliberately obtain a slight color shift similar to toning. You could also print to a fairly neutral image, and flash to put some color into the highlights.

Is the intercut SD8 footage intended to simulate a "home movie" look within your 35mm 1.85:1 production? If so, you probably want to "pillar box" the native 1.33:1 aspect ratio, rather than lose so much image area by cropping the height.

Audiris is correct: "bleach bypass" leaves some or all of the silver that would be removed by the bleach in a COLOR image, where dyes normally form the image. Skipping the bleach in a B&W reversal process would yield opaque film: http://www.kodak.com/US/plugins/acrobat/en...10.12&lc=en

Very high speed films are also more sensitive to pressure marks and static marks, which have especially stringent design specifications for motion picture stocks that will be used in a wide variety of cameras and conditions.

My point was that using Super-16 for production could help "separate you from the pack" with a true film look. To me, most of the cooking shows on cable look pretty bland, and the food often looks plastic. Flames from the cook stove often test the highlight capability of some video cameras. Film is often preferred for food commercials.

Kodak did of course have Kodak VISION 800T Color Negative Film 5289, using the older VISION technology. The newer Kodak VISION2 500T Color Negative Film 5218 provides much less graininess than 5289, even with some underexposure and/or push processing to match the higher exposure index of the older film. Kodak continues significant R&D in new technology for motion picture films. Whether new high speed films are on the way...? Time will tell, I won't.