Mathew Collins

Is there any difference between tilt-focus, shift & tilt focus and slant-focus?

>That shot has barrel distortion, could have even been the 35mm C-Series anamorphic instead of the 40mm. Thank you David. How did you analyzed that this shot used 40mm?

Hi, I was watching Alien(1979). I am referring to a subjective shot of the character played by Harry Dean Stanton while searching for a Alien. I could see very minimal Barrel Distortion at the edges of the door. But in many films which shot in anamorphic, i have observed easily noticeable distortion. How could have DoP Derek Vanlint reduced this? And there is no closeup of Harry Dean Stanton preceded or followed by this subjective shot. Would it purposefully eliminated?

Thank you David and Stuart.

I had a look on the following link before posting the about question. http://www.tiffen.com/displayproduct.html?tablename=filters&itemnum=5881EF Here in the bottom of the link,it is given that 81EF 3,850 to 4,140 K

>"Saving Private Ryan" was shot on 5293 pushed one stop to 400 ASA, flashed with a Panaflasher (generally), and used the ENR process on the prints. Some shots used filters or just foggy skies to wash out the image, plus the lens were stripped of their coatings to increase flare, and of course, the subject matter was naturally low in color saturation (overcast weather on a beach, actors wearing army costumes, etc.) Also, exterior scenes were shot with the less-strong 81EF filter instead of the 85B filter, creating a colder image. David, Is there any mistake in my observations? 5293 is tungsten-balanced color negative. 81EF filter converts 3850K to 4140 K. 85B filter converts 5500K to 3200K. 81EF and 85B perform conversion in opposite directions. In this case how could we compare 81EF and 85B?

That is true, I observed in many movies. Eg: The.Birds(1963) The character 'Tippi Hedren' (played by Melanie Daniels) and reverse of her.

Thank you David, Mark,Brett, Satsuki. Suppose the only light source in my scene is fire and I uses artificial lights for additional lighting. Would it be a mistake if the lights visible in eyeballs?

Hi, I was watching 'The End of the Affair'. I could see white patches in Maurice Bendrix(character played by Ralph Fiennes). I have few questions on on this. Could someone share their experiences on this? Is it the reflection of lights? Is it a mistake happens in movie lighting? How could a cinematographer overcome this situation?

Thank you Stuart.

David, Could you explain 'partial frames'? Why 'rolling shutter' is an issue here?

Hi David, Could you give some information about the requirement of 'sync with the rolling shutter' and 'partial frames'?

Hi Paul, Could you explain "I don't want the rolling shutter from Atomic 3000's."?

Hi Tristan, Could you explain "I want to avoid tungsten because of the time it takes the filament to dim completely down between flashes."?

Thank you David and Jonathan.

I am not planning to show the full fire in the initial part of the scene. Still a part of the fire is visible in the shoulder shot. Color Temperature - 3800K Background window - Right window- 240W Kino Character- Key light - 80W tungsten inside a softbox + fire

At a time how many roles of film used in the camera for shooting? B/W film is used? Are these filters are used at time of shooting or in post? >When making a dye transfer print, you run the b&w positive image (the matrix) dipped in either yellow, cyan, or magenta dye (yellow dye for the blue information, cyan dye for the red information, and magenta dye for the green information.) Could you explain this part? How this b&w positive image is made? Is it printed from from the original negative? What is matrix?

We call 'Garware' locally as 'Butter paper'. As shown in the video It is like a plastic paper. At the edge of paper which i have used, it is written as 'Garware'.

Thank you David.

Hi, I could see lot of grains in the background of the church scene in Moby Dick. Is it the outcome of less lighting or film stock?

Just tried to light the scene with available lights due to the lack of budget. Kindly share your advice. Right window- 240W Kino Left window - 400 W metal halide (locally available - not very good for film lighting. Character- Key light - 240 W Kino with Garware in front of it Character- Fill light - 80W tungsten inside a softbox Background of the scene - Warm 250 W(5x50w) self made Kino type light with Garware in front of it. Above the character - Cool 250 W(5x50w) self made Kino type light with Garware in front of it.

>"Moby Dick" -- Eastmancolor photography but desaturated through unique Technicolor dye transfer process involving making b&w matrices with broad-cut instead of narrow-cut filters, causing separations to contain the other two colors, creating a pastel image when recombined. Then a silver key image was added in a fourth pass. David, Could you explain, -broad-cut and narrow-cut filters -causing separations to contain the other two colors -when recombined -a silver key image was added in a fourth pass

http://donmcveydop.com/lee-filters/ I found this link in cinematography.com. Any other document in online which provides some insights into diffusion and diffusion materials?

Thank you David.

Thank you David.