Brian Drysdale

I gather Les Bosher offers a PL hard mount for the Aation. http://www.lesbosher.co.uk/

You could watch "Don't Look Now", there's a big height difference between Donald Sutherland (6ft 3in) and Julie Christie (5ft 2in).

Kodak is moving into producing key pharmaceutical ingredients https://www.bbc.co.uk/news/business-53563601?intlink_from_url=https://www.bbc.co.uk/news/world&link_location=live-reporting-story

An editor friend with lots of experience of UK labs says that they deny things. He put it more strongly, so you have to push back.

They are pretty frontal, which helps, Dedo light are good for this type of stuff. It's certainly not newsreader lighting.

On a properly funded production DPs don't usually get a percentage of a film, they receive a fee for their work. You may get a percentage if the producers don't have the funds to pay you, however, don't expect to see anything if the film is sold, there's a lot of clever accounting that goes on.

No need, since there already is ND gel, which you can buy in rolls, which you can also use on Lights.

You won't get minutes from 100ft ar 24fps, it'll be 1 minute 7 seconds.

Just checking "The Godfather", the credit is "Color by Technicolor". Even photochemical prints from an original negative, made over a number of months, can vary depending on how the processing was running on a particular day and other factors.

There are companies that specialise in restorations, you need to check the end credits for who did the work. They may have a print available as a reference, but the restoration can vary in its grading compared to what the audiences saw back in the day. Sometimes the original DP or director is involved in the restoration.

Don't be confused by marketing. Labs used to say color by such and such lab in the credits of a film, even through the stocks were manufactured by Kodak. At least Technicolor had their unique dye transfer, until they went over to the standard photochemical workflow used by the other labs. Credits aren't legal documents. they're part of the marketing.

Prints would a single strip, as used in cinemas, not 3 strips. That was only used for shooting until stopped. You don't want to do transfers to video using projection contrast prints, the results tend to be contrasty. Going back to the original neg will give the best results, however, you do need to know what the original grade was like, otherwise it can vary from what the audiences saw in the cinema.

That means that the film was shot using Panavision lenses and their 35mm cameras and that Technicolor did the lab work including producing 35mm and 70mm prints using the dye transfer process,

That sounds like the one, it had an ENG type servo on it. I used to wonder how good it would've been on a 2/3 HD camera.

Just as an aside, Cooke made a 2/3" video zoom lens. I used this once on a commercial shot on a Sony BVW300, so you can tell how long ago it was it. I've forgotten the technical details of it, but it produced the sharpest looking pictures I've seen on one of those cameras. I haven't been able to find an references to it online, so I can't add any more. However, it may have been based on the Cooke 9-50mm Varokinetal T2.5 design .

In the UK you can run a 2.5k HMI without any problems.

This is probably more for the optical sound than for analogue the magnetic sound recording - they generally used Nagra, which are pretty quiet on the noise front. Part of it is also how the soundtracks were mixed, the foley effects on some 1970s films are far from sounding natural.

An article on this subject: https://www.provideocoalition.com/hollywood-goes-back-to-work-but-its-a-whole-new-hollywood/

I don't know if there's a name for it, but I did shots like with with a Doorway dolly. It was to do close shots riding with a boy on an airport moving walkway. We weren't allowed to do these on the real thing, just the wider static shots at the end of the walkway, but we had access to a parallel service corridor that looked the same. We pushed the dolly up this corridor, with the boy and camera hard mounted onto it for a number of tight shots. It still fools me into thinking we're on the walkway and I know how it was done.

Lightworks V2020.1 (formerly V14.6) is now released. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=218434&Itemid=81 This latest version adds support for importing and decoding HEVC/H.265 media natively including being able to create proxy files to work with until switching back to the Hi-Res to render/export the sequence. Some of the other new features in version 2020.1 can be seen below: Added decode support for HEVC/H.265 files Added ability to lasso segments on the sequence timeline Added support for the latest versions of Ubuntu Added ability to detect rotated phone footage and rotate it to the correct orientation automatically Added "Libraries" heading to the Content Manager Moved Local files import option under this heading Moved Audio Network import option under this heading Moved Pond5 import option under this heading Added improvements to Audio Network integration Media can now be imported into a project Media can now be used in a sequence Export is prevented if the sequence contains non purchased media Added ability to handle still images correctly Added new "Images" filter Images now import at the correct scale ratio rather than being scaled to the output format Added ability to drag an image into the sequence viewer or timeline Removed pagination on search results Added improvements to varispeed in Flexible layout Added segment right-click 'Speed' menu item Added 'Show segments speeds' option on the timeline appearance panel (to restore per-track speed widgets) Removed per-track speed button by default Added HD overlay to the vectorscope Added support for browsing "Amazing Music Tracks" from within "Libraries" Added new enhancements for Tile view bins (text now appears outside of the tile rather than overlaying the image) Fixed layout only Added ability to generate .lvix seek files locally (previously stored next to linked media) Added Blackmagic BRAW decode panel to the Video tab of the project card Added UHD Media to the Media->Transcoding tab to allow for transcoding to UHD on import Added better Keyboard shortcut handling of using standard keyboard shortcuts ie, pressing delete deletes clips Added ability to select segments on the sequence timeline Added ability to right click a clip containing ranged cue markers and select Make->Sequence from Cue Markers Added better categories for Keyboard Assignments list Added German translation wordings into the installers Added ability to move an effect along the timeline without changing it's routing Added ability to select multiple items then edit the text for one of the fields which now causes all rows to be updated Added ability to apply effects to selected timeline segments Added ability to change the size of the project thumbnail images by holding down CTRL and scrolling with the mouse wheel Improved timeline sync-loss representation Updated to the latest MainConcept SDK's And much more! The full list of fixes and other improvements in version 2020.1 can be found in the 2020.1 Release Notes document on the Downloads page

The next Beta of version 2020.1 Revision 122068 on Windows, Linux and Mac OS X is now available to download. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=218398&Itemid=81 This has some fixes and Lightworks hope to be able to release 2020.1 this week.

Here are UK shooting procedures; https://www.bbc.co.uk/news/entertainment-arts-52704584

Models are precisely that, you don't get proof. It's more the mathematics, based on a certain R number, this is the possible rate of spread and given the death rates in other places the result may be the death toll in NZ if nothing is done. After that it's a a political decision on the approach, if you go in hard early (possibly with testing and tracing or/and a lock down), or if you wait a bit longer or if you do what the Swedes did, which was voluntary separation . That decision is also based on the nature of the society and where most of the population lives, also health factors like the rate of obesity and diabetes etc Hindsight is 20/20, it's something you don't have at the time you're making a decision. So far, it seems that the economy always takes a hit, no matter what you do, especially if tourism is an important part of your economy. It's how it pans out in the longer term that's a mystery, because there are still unknowns about this virus.

The logic behind the NZ 80k figure is explained here: https://www.newsroom.co.nz/2020/03/26/1101871/covid-19-could-kill-80000-new-zealanders Part of of the argument is that there not being enough beds if COVID 19 had a free run.

Here are methods being used on a couple of films: https://www.nytimes.com/2020/05/15/movies/virus-filming-details.html?action=click&block=more_in_recirc&impression_id=492722835&index=3&pgtype=Article&region=footer