Danyal Khan Niazi

Thanks for the replies everyone - I just ran some tests with Arri, with all of the info shared here. Looking forward to the results!

That’s great info - I’m running the job through Arri so I’ll talk to them about what they have in house - with these tools is there still the necessity to check that you’re at the correct sync through the gate with the mag off? Seeing as checking via the ground glass would provide an inaccurate representation?

Hey guys, Shooting a film coming up with a fair amount of coverage on an old school CRT TV playing VHS footage. We’re shooting super 16 on an arri 416 plus. I’m looking for input on minimizing flicker from the TV. Back in the film/video era I know there were proprietary pieces of kit to help sync shutter to NTSC video feeds, and that involved looking through the gate with the magazine off with a special tool to check refresh and shutter sync. I’m wondering if there are any other easier ways to get this done in the digital era or if anyone had any tips as I approach testing this. Thanks! -Danyal

Hey all! I have a movie coming up in which I need to simulate a total solar eclipse. The scope loosely involves the following: two types of shot- One camp which embodies the light gag of the sun slowly being eclipsed- and the very specific quality of light and shifting of light that this brings. and one camp which embodies the sun in total eclipse. I have a feeling that these are my two camps as technically they probably will need to be tackled in different ways. within these camps, some of the shot ideas are: - Mediums and closeup work on talent watching. - wides of rooftops in a suburban environment, with some sky visible in the frame. - ECU inserts of something that the sun creates speculars on. - Wide shot composite showing the sun itself in eclipse with landscape around. I have my stylistic approach in mind but I was wondering if anyone had their own insight into the process of selling this type of effect photographically - any references are welcome and any thoughts! so far the best example I’ve seen is the Eclipse sequence from apocalypto but I’m sure there are many more out there. all the best, Danyal

Hey guys, I was just wondering if anyone has a resource or book with detailed information on common light units used in film. I'm talking polar luminous intensity graphs, information on candelas, etc. Anything that one can read and light a set with using mathematics from the given data. I've been told that manufacturers supply this type of information but I have been having difficulty finding anything online. I could be looking in the wrong spots. Maybe there's a pdf flying around with information assembled by a well to do gaffer? Probably wishful thinking. Danyal Khan Niazi

What makes you think its the 35mm glass, and what is the difference? Thanks for all your input.

So you think it's superspeeds and not ultra16's? Just judging by the quality of some of the flaring and blooming I was thinking superspeeds but it was just so sharp.

So you think it's superspeeds and not ultra16's? I thought it could've been superspeeds just judging by the quality of some of the flaring and blooming.

Do you think the anamorphic flaring is filtration then? Also in many places the bokeh looks either anamorphic or just like distortions from field curvature? I think the above poster might've been on to something. But yes! Fantastic scan. Thanks for the reply

Hey guys, does anyone have any info on this Lorde music video that was shot on 16mm? I'm trying to find out what lenses Steve Annis used if anyone has any info. Maybe someone with a keen eye can hesistate a guess... I'm thinking panchros or superspeeds? Thoughts? I know a lot of DP's avoid diffusion filtration on 16mm but maybe it was cleaner lenses coupled with that?