Mathew Collins

>Yes, to match daylight, your tungsten lamps will need Full CTB gel. My understanding is tungsten lamps emits broken spectrum. Does CTB gel converts 3200K to 5600K?

> However, modern 2-perf cameras often expose full aperture. Doesn't really matter whether the gate exposes 2.40 or 2.66, you aren't going to use the 2.66 area anyway. Does 'Modern 2-perf cameras often expose full aperture' mean the 'full aperture area' in the '2-perf area' ? >But with 35mm film print projection, as Alex says, it's all 4-perf -- either masked in the projector to 1.85 using spherical projection lenses, or stretched horizontally by 2X to 2.40 with anamorphic projection lenses. How would the 2-perf image look on a 35mm print? Is it squeezed image for 2.40:1? Then does that image projected using De-anamorphic lens? >So the 2-perf 2.40 image has to be blown-up (more or less just vertically, so stretched from 2-perf to 4-perf) to create a 4-perf 35mm anamorphic version. It's considered a blow-up compared to actually shooting in 4-perf 35mm anamorphic, since that's a larger negative area compared to 2-perf. Does 'Blow-up' means printing the image blown-up onto a 4-perf 35mm print film or projecting the image which is fit into 2-perf area in a print film onto screen? Does '4-perf 35mm anamorphic version' mean a squeezed 2.40:1 image onto a 35mm film? How much area the image occupy in print? Would it utilize entire 4-perf area or a image fit into 2-per area?

>s Mark says, 2-perf was just a shooting format, it was originally blown-up & squeezed in an optical printer to create a 4-perf 35mm anamorphic (CinemaScope) version for printing. I knew this is basic question. After cropping the aspect ratio would be 2.40:1. So why would the image require a blow-up? Is the cropping(2.66:1 to 2.40:1), blowing-up & squeezing happening as single step in optical printer?

Thank you David, Brian.

Thank you David.

Thank you David. So the Colorist looks for a grey card in the beginning of the roll. If there is grey card and is not neutral, he would try to make it neutral(grey) and those changes would effect on the following scenes. If there is there is no changes required for the grey card, he would leave the roll as it is. If he is not finding any grey card at the beginning and the scenes in the roll are not neutral, he would try to correct scenes. Is there any other use for the grey card?

> Generally you'd write on the camera report "time for grey scale at head of roll (or scene)" and after they did that, if the next shot came up under a colored light or filter, they would assume it was intentional and leave it that way. But to be doubly sure, you could write a note saying that the scene has an intentional color of whatever you picked. >If a grey card or scale appears at the head of the roll or scene and you told the colorist to "time for grey card or scale" then they will balance the levels until that grey card look grey, whether you put white light or colored light on it. If the card is lit orange, he will shift away from orange to neutral, but this shift will mean that the image that follows will be pushed in the opposite direction of orange, towards the blue. It's just like doing a white balance with a video camera on a colored card. The timer is only making adjustments to the grey card and then letting the scene play out in that setting. Any difference in the above instances? >So, no, he doesn't observe that the grey card looks orange and then pushes the blue lit scene towards the orange. If he observes that the card looks orange he will add blue to it until it looks neutral, but that means that everything that follows will have that shift to the blue. If Colorist doesn't observe that the grey card looks orange, why would he push the scene?

David, Could you have look on the questions. > In her case, shooting a grey scale on 500T stock under a tungsten (white) light and then lighting the scene with blue lights for a blue look just means she was giving the timer a neutral reference so that they wouldn't correct out her blue lighting. If she wanted 'not to correct her blue lighting' she could write on the report 'Do not perform color correction' or Skip the 'shooting a grey scale on 500T stock under a tungsten (white) light' and shoot the 'the scene with blue lights' so that the Colorist would not have done any changes. Could you correct my understanding, In the first case, the Colorist observed that the Grey card appears as grey, so he is not doing any color correction. In the second case he observes that, the grey card appears as orange, so he pushes the blue lit scene towards 'more orange color side'. In effect the scene appears in deep blue color.

Is Orange color mask not removed from positive print or negative copy during the work flow? Not from the release print as well?

David, One question I forgot to ask, When do the orange color mask is removed from the film?

David, There are no 'doubts' about the knowledge being shared here. Here after no more doubts, instead questions. Many thanks for the bunch of knowledge shared here.

Hi Everyone, I am doing a low budgeted short movie. This happens in night in side an abandoned building room. There are 2 windows for the room. There are 3 characters in the shot movie. During the story, the characters set a campfire. I am planning for two possible light sources. 1) Moonlight coming thru the windows. 2) Light from the fire. The camera which, I would be using Canon 5DM3 and a zoom lens with f/4 opening. My doubts are, 1. What are the lighting equipments required for this type of lighting setup? 2. What would be the Color Temp to set?

David, Lot of doubts. Please have a look. >so the negative after processing has the takes circled on the camera report cut out of the camera rolls and spliced onto a printing roll so that you don't have to print everything. Which one 'cut out of the camera rolls'? Original Negative or the Newly-made-contact Print Is Newly-made-contact Print a copy of Original Negative or a Positive Print(which can be projected as a movie)? >the original negative is copied onto an interpositive (using intermediate duplication stock) Is this Copy a duplicate of Original Negative? How this 'interpositive' is differ from IP which created in later stage? >So now you have a cut negative. Is this Original Negative cut and joined together with the OK takes? >The color timer runs that through a Hazeltine to determine a set of RGB or YCM printer light values: Which copy is used here? >And you make a print off of the negative using those printer lights, which is called the First Answer Print Is this a Print which can be projected and viewd(a positive image)? >You could strike prints right off of the negative with a soundtrack on the prints and show that -- often those are called "show prints". Is this a print which can be projected and viewd(a positive image)? >So after answer printing is done, you'd use those printer light values to create a color-timed copy onto intermediate duplication stock. Printing a negative onto that stock creates a positive, so this is called the interpositive (I.P.) Is 'interpositive-IP' a duplucate copy of Original Negative? >At some point, these prints may also get the optical soundtrack added to them (called then a composite print as well as being an answer print, but the early answer prints are usually silent.) Is this composite print also called 'married print'? >You could strike prints right off of the negative with a soundtrack on the prints and show that -- often those are called "show prints". Is this a print which can be projected and viewd(a positive image)? >to create a dupe negative that was then cut into the original negative. So those effect shots went: o-neg --> I.P. --> I.N. (now cut into the o-neg of the rest of the movie) and then --> I.P. --> I.N. --> release print. Could explain this part 'to create a dupe negative that was then cut into the original negative'. So those effect shots went:...?

David, >Most 2-perf cameras today will expose the Full Aperture area even if you are only using a 2.40 area. Then during those days, were did they place sound track? >3-perf 35mm does use the Full Aperture width however. Some people call that Super-35, some just use that term for 4-perf 35mm to differentiate the difference between using Full Aperture / Silent / Super width versus Academy Aperture / Sound width. Since all 3-perf is Full Aperture, there isn't really a need to call it Super-35. So the Super-35referred by modern cameras are either of the size/aspect ratio of 3-perf or 4-perf?

David, >By using yellow-colored magenta coupler and a salmon-colored cyan coupler, blue light was kept from degrading the intensity of the red and green layers of the negative. The result of this masking is a brick-orange negative. The 'brick-orange negative', color, are you referring about unexposed rawstock or developed negative? >"Thus in printing, only the cyan peak is printed, resulting in saturated yellow and magenta images that produce clean, bright reds, because the unwanted green and blue absorption of the cyan dye are cancelled out. 'only the cyan peak is printed' Could you explain this? What about Magenta and Yellow? Not printed?

David, >Once you get down to 2-perf you don't really use the Super-35 (full aperture) width because if you did, the aspect ratio is 2.66 : 1 (half the height of 4-perf which is native 1.33 : 1). While using 2-perf or 3-perf in 35mm film, the sound area reserved for soundtracks are used/ never used? Is there any formats in shooting on film/digital like, 1) 2-perf or 3-perf in 35mm silent film 2) 2-perf or 3-perf in 35mm film with sound track? Is shooting in 2-perf or 3-perf or 4 perf in 35mm silent film / Digital known as Super-35 formats?

David, >Right now I think most DP's still feel that flesh tone still look best under incandescent light rather than an LED or fluorescent built for 3200K, but some LEDs and fluorescents are "good enough" depending on the shooting scenario. Is incandescent light=> tungsten light?

David, >Yes, to match daylight, your tungsten lamps will need Full CTB gel. My understanding is tungsten lamps emits broken spectrum. Does CTB gel converts 3200K to 5600K? >However, you can only partially correct the tungstens if you want a warm light afternoon sunlight effect, or leave them uncorrected for an sunset orange look. Isn't Tungsten is a warm light? Is there any correction needed to match with afternoon sunlight effect if we use Tungsten lights?

Bunch of information. Thank you David.

Thank you David. That clears many doubts.

Thank you David.

Thank you Satsuki.

Thank you David.

David, >"If you are making a print off of the negative, yes, printing at higher printing light numbers will get you deeper blacks, which will make the colors look richer." Could you explain about printing at higher printing light numbers? Is this about overexposing the staock and printing at higher printing light numbers? Is it about Garland's overexposed stock to be printed in this way? >"generally I rated stocks by 2/3's of a stop slower to get a richer look, particularly with high speed stocks." Is it about underexposing the stock by 2/3's of a stop to get a richer look?

Thank you David. What is the technology to make blue layer less/more sensitive? Is it by changing the size of silver halide crystals or based on the number of crystals in blue layer? like, small size crystals for less sensitive blue layer(daylight balanced film) bigger size crystals for high sensitive blue layer(tungsten balanced film) or less number of crystals for less sensitive blue layer(daylight balanced film) more crystals for high sensitive blue layer(tungsten balanced film)