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Mathew Collins

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  1. Mathew Collins
    David, Could you explain (from the underexposure, because fewer of the smaller, slower grains got exposed)? My understanding was, during under exposure film is getting 'less light' and slower grains are not getting enough exposure.
  2. Mathew Collins
    "or daylight film in a location like a warm desert where I want good saturation of the redder tones." David, How would this possible, if red layer of daylight balanced film isn't more sensitive?
  3. Mathew Collins
    Is it because the blue layer in tungsten balanced film is more sensitive to blue light and the red layer in daylight balanced film is more sensitive to red light?
  4. Mathew Collins
    Thank you Leon.
  5. Mathew Collins
    Thank you David.
  6. Mathew Collins
    Can i put it in this way... we use anamorphic lens on 4-perf 35mm with the soundtrack and never use never anamorphic lens on 4 or 3 perf Super 35 format?
  7. Mathew Collins
    Thank you Leon. If 1.76X difference between anamorphic 35mm and Super 35, then could you explain what is 2x anamorphic squeeze? Is that what we obtain on Super35 format using anamorphic lenses?
  8. Mathew Collins
    David, couple of questions: 1. What is lens is centering? 2. Could you explain 'You usually make workrpints and silent answer prints that have the Full Aperture printed and just let the projector mask it to the sound aperture.' 3. How to make 'contact print off of the negative'
  9. Mathew Collins
    David, just few questions: Super-35mm which you speified is 3 perf or 4 perf? Intially you said -> So that's a 2.11X difference with 5-perf 65mm (divide 52.48 by 24.89). So if you use an 80mm lens on a 5-perf 65mm camera, you'd want to use a 38mm lens on a Super-35 camera to match horizontal view. Later you said -> It's a 1.76X difference between anamorphic and Super-35. So to match a 38mm lens on a Super-35 camera, you'd use a 67mm anamorphic lens or that 80mm lens on the 5-perf 65mm camera. Is it 2.11x difference or 1.76x difference?
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