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Mathew Collins

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Everything posted by Mathew Collins

  1. Could you explain about " tracking marks on the faces "? What is that used for?
  2. Hi, In the following interview DP Rodrigo Prieto says at 1.52 minute" Martin Scorsese didn't want tracking mark on faces. That is the reason for witness cameras. Those cameras were capturing only infrared, and tracking marks were only visible in infrared." Could someone know this technique and what is DP talking about? -Mathew Collins
  3. Hi, Why did the size of sun looks SMALL in the noon and BIG in the evening, even though the distance of sun in the evening is greater than that in the noon? Is it something related to depth ques? -Mathew Collins.
  4. > http://www.brianpritchard.com/colour_films_with_unusual_sensit.htm Thank you Simon. Good information in the link. Magenta layer is sharpest and changed as top layer in positive films. But Kodak did not follow the same order in Negative films.
  5. In the ECN-2 processing given in the link, https://www.kodak.com/uploadedfiles/motion/h2407.pdf The order of emulsion layers in Negative are in the order Yellow, Magenta, Cyan layers from the top to bottom. But in KODAK VISION Color Print Film / 2383 https://www.kodak.com/uploadedfiles/motion/2383_ti2397.pdf or in ECP-2E Processing document, https://www.kodak.com/uploadedfiles/motion/h2409(2).pdf The layers in the print film are given in a different order, Magenta, Cyan, Yellow .Any specific reasons for this change in order?
  6. David, Thanks for the information. Every time your one replay clears many questions.
  7. When projector light passes through the print, does it have to pass thru 3 layers, first, Green sensitive emulsion ie; Magenta Layer Next, Red sensitive emulsion ie; Cyan layer and finally Blue sensitive emulsion ie; Yellow layer Then no light will be passed. I think there is something wrong with my understanding.
  8. Thank you Phil. How would the image formed on screen, when white light passed through the Y,M,C layers of release print?
  9. Hi, A Question related to workflow of between camera negative and release print. The Inter Negative(I.N.) is printed to Release print. While processing the release print, what layers of dye would be present in Release prints? Is it same layers as I.N.? Yellow, Magenta and Cyan layers? How the color reproduction happening in screen while going thru projector? -Mathew Collins.
  10. Please suggest some good Books or Links to refer about Film processing to Printing (both Black & White and Color). -Mathew Collins
  11. I tried to understand few things while watching movies. 1. Camera moving towards or away from character, makes the image size big/or small create some impression on the viewer. When the size of the character fills the frame viewer may feel that the character is superior and when and when character is isolated in frame, he is inferior. 2. When camera is moving along with character the support is given to character from story point. 3. I could not really understand the situations to go for Dolly Vs Panning. 4. When camera is static and character is, no support given from story point, but character is trying to do something on his own.
  12. Hi, I have few questions about camera and character movement which psychologically communicating to viewer, 1. Camera moving towards while Character is moving (image size is increasing and depth-of-field is decreasing). 1. Camera moving away from Character while Character is moving(image size is decreasing and depth-of-field is increasing). 2. Camera moving along with character and Character moving towards or away from camera(image size increasing/decreasing). 3. Camera is moving along with Character (any type of camera movement)(no difference in image size). 3. Camera is moving along with Character(dolly vs panning). 4. Camera is static while Character is moving (image size increasing/decreasing/no difference). 5. Camera is moving while Character is static (image size increasing/decreasing/no difference). -Mathew Collins
  13. Thank you all. That clears lot of questions. I was confused about key + fill : fill which is given in many books. Now I could go with Key: Fill . -Mathew Collins
  14. Hi, 

    I was reading your post in,

    Could you send the spreadsheet mentioned in the post to



    Mathew Collins.


  15. My understanding was Contrast/ Lighting Ratio is, key + fill : fill. Some of the books gives the ratio as , Ex: Set Lighting Technician's Handbook, Fourth Edition Film Lighting Equipment by Harry C. Box-page 112 key + fill : fill -Mathew Collins.
  16. Hi, A question about lighting ratio, Key+Fill : Fill, Key is 100 FC, Fill is 100, then lighting ratio is 2:1 Key is 200 FC, Fill is 100 FC then lighting ratio is 3:1 Key is 400 FC, Fill is 100 FC then lighting ratio is 5:1 Key is 800 FC, Fill is 100 FC then lighting ratio is 9:1 Key is 1600 FC, Fill is 100 FC then lighting ratio is 17:1 Something wrong with my calculation? Is it possible to arrive at 4:1, 6:1, 7:1, 8:1 ratios? Thanks, Mathew Collins.
  17. Thank you David, Macks and Brian, I was trying to find out the meaning. While watching films, characters/vehicles enter into the frame through, -right side-lower part -left side-lower part -lower side -upper side
  18. Hi, I have seen vehicles/characters entry into the shot from the Left/ Right/ Lower/ Upper side of the frame. Any specific meaning/metaphor for the sides of frame? -Mathew Collins.
  19. The Dress maker is comedy, Drama movie. In the second set of pictures, When Judy Davis's character appear to from lower bottom of the frame(1st picture), the other ladies looks into the lens or just to the side of the lens. These pictures are from another scene. Kate Winslet's character opens the door. Lady characters look onto the lens or just to the side of the lens. Donald McAlpine used 'look onto the lens or off to the side of the lens' technique in other scenes as well.
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