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Brian Drysdale

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About Brian Drysdale

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    Cinematographer
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    Belfast

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  1. The third V2021.1.1 beta is now available [url]https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=235849&Itemid=81#235849[/url] This latest build fixes several regressions that have crept in along with various improvements. Lightworks are still keeping changes to a minimum during this cycle and hope to be able to release within the next couple of weeks. Additions include: Improvements to the export panel to be more intelligent about available/unavailable formats Export formats are now allowed if they can't handle the exact sequen
  2. Commonly, it's the colour temperature of the ambient light is a deciding factor. Alternately, if you wish to create a colour effect, eg a moonlight effect or a sunset effect. There are also colour temperatures in between tungsten and daylight, which can be found on various fluorescent lights, It's worth experimenting, because the most interesting lighting for a scene may not be a straight tungsten or daylight white balance.
  3. This has the feeling that it's going to go around in circles. Cinemas are deigned for projecting the 1'85: aspect ratio, because that's the historical standard in the film industry. You can project your 16:9 film on the same screen, but it won't go to the full width, assuming that both formats are projected at the same height. Will the audience jump up and point at the edge of the screen? They haven't at any screenings of films I know that have been shot on video. If you screen a 1.85:1 film on a 16:9 TV or video monitor and maintain the full height, the picture will be slightly cr
  4. 2.00:1 was used by one process in the 1950s, but it never took off. Traditionally, cinemas have curtains (or tabs) that opened to the 1.85:1 aspect ration, and than opened out wider to the 2.39::aspect ratio. some could also do 1.33:1 and 1.66:1. These days many multiplexes just have a large screen and the scope films are projected with not much difference in width compared to 1.85:1 films. The way to think about is that !,85:1 is the cinema standard and 16:9 is the broadcast and video standard. I seem to recall the manufacturing the CRT TVs was also a factor in deciding the
  5. Doing some quick maths, it's more or less 2.35 + 1.33 divided by 2 which is 1.84 or 1.85 if rounded up.
  6. Cinemas are set up for 1.85:1 projection, as is the workflow and the cameras designed for cinema productions. 16:9 can have slight pillars on either side if you're going through the full 2k DCP workflow,. If you don't want to shoot 1.85, no one is stopping you shooting 16:9, many low budget films are shot using that aspect ratio.
  7. No one will stop people shooting 2.00:1, it's easier with digital projection than with film projection. Traditions still occur, especially since some directors like to shoot on film, rather than digital formats.
  8. !.85 is the established cinema aspect ratio, there's only need to use it if you're shooting films for theatrical release. When you're shooting 1.85 you are aware that it's "wider" than !6:9 when composing shots Can project 16:9 films in a cinema, but they don't feel quite as "wide". A number of productions I've worked on have been projected 16:9, it's not unusual at festivals or special screenings. Cinemas these days commonly just project on the same size screen, so 2.35 films tend to look less impressive these days, compared to when the tabs opened up to the full width and scope fil
  9. The ideal head is a Ronford F7, which I gather was originally designed for the NPR. The downsides are that even used ones are expensive and they''re pretty heavy.
  10. Regarding 4 hour films "Lawrence of Arabia" is a near as makes no difference at 3hours 48 minutes. There are films which are longer than four hours: https://screenrant.com/best-movies-over-four-hours-ranked-imdb/ I gather the longest film ever made is a Swedish film "Logistics" which lasts 35 days and 17 hours, which sounds more like an art installation. The discussion seems to moving into movies v films.
  11. The 2nd V2021.1,1 beta is now available. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=234763&Itemid=81 This latest build fixes a few regressions that have crept in along with adding further improvements to audio handling with hardware I/O. Lightworks is still keeping changes to a minimum during this cycle and hope to be able to release within the next couple of weeks. One new feature in V2021.1.1 is the graphic representation of missing media in transition overlaps. This is an area that causes difficulty for new users.
  12. The Lightworks V2021.1,1 beta is now available. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=234075&Itemid=81 This latest build is a maintenance release for 2021.1 that fixes some important issues that have been raised recently, along with a few fixes that were not ready in time for the 2021.1 release. Added new keyboard shortcut commands "Save current sequence frame" (which saves the frame from the current record sequence) "Save current frame" (which saves the frame from the focus) "Associates" (which opens the Asso
  13. "The Duelists" has a very practical commentary by Ridley Scott
  14. Operationally, the big difference was that the MK1 Super Speeds had wings, so that you could pull focus with the Arri 16 BL, which had a blimp around the lens. The focus scale was also rather compressed..
  15. Lightworks Version 2012.1 is now released https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=232818&Itemid=81 Lightworks say: "This latest version is probably the biggest release in the last ten years! Changing some of the fundamental foundations to allow us to build a more powerful and flexible product over the coming years." "The overall foundations of the application have been rewritten with a faster and more flexible open architecture. This allows any media to be brought into a project and played at its natural size and frame-rate withou
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