KKB22

Thanks man!! :D

I recently shot a cartridge of the 64T with an old manaul Sankyo camera. The 85 filter did not fit into place like it should have. Is there a trigger in the camera or on the cartridge that I can over ride to make the filter come into position? There is a screw hole on the top of the camera that you trigger to remove the filter for tungsten lighting but that isn't what I am after for exteriors.

This could be a very bad question, but I would love to use 7218 for Super 8mm and do a telecine at home. I own one of those old slide or film to video conversion kits, an old Bell and Howell auto load projector and a video camera with an adjustable shutter to eliminate flicker. Basically my question is, since I would be transferring the negative to video, I suppose if I did an invert on the image to create a positive image (with Adobe Premiere 6.0 on my lab top), would this work? Or do I have to shell out some money to have it professionally telecined? Thanks!!

THANKS!! :lol:

I'm a student at filmschool, and am wondering what brightness range one can capture on most of today's negative stocks. I've heard 7, 8, even 11 or 14 stops. What is the reality? And if printing a positive for a theatrical exhibition, what is the brightness range that is actually discernable? The book "Practical Cinematography" by John Wheeler says 7 stops but I couldn't find why elsewhere in the book. I know that television (Standard Definition) has a brightness range of five stops. So why the 7 stops for the preceding?

Thanks for all your help everyone, I'm not writing a paper on the physics of lenses, I'm just a Camera Operator/Camera Assistant studying at film school with a very curious mind. For me personally, with anything I study, I need to know why as well as how. Heh. :lol: I'll contact Carl Zeiss.

I should've been more specific, yes I wanted to know the actual physics of why longer focal length lenses have less depth of field. Like you said, all the cinematography books I research give the characteristics, but not the physics. Thanks anyways, sorry about the mishap.

So it is purely the field of view that affects the depth of field? The focal length only determines the field of view?

I've tried to research many many sourcies, even the ASC manual, and not one will tell me why telephoto lenses have less depth of field than wide angle. All the manuals tell me what they do, but I want to know why. What happens optically that creates a shallower depth of field. :blink: Cheers

Check this site out. The school is APA International Film School. It is a two year film school in Sydney which I am currenty undertaking. The strength of the school in my opinion is the Cinematography program. You get heaps of set experience. http://www.apa.edu.au/

THANKS!! Looks like I'm going with the most affordable camera I can rent that will film in reverse. Cheers :D

I want my subject that I will be filmming to move in reverse, and I really, really don't want the video strobing effect that is often created when creating these effects in post. I've noticed that cameras like the Arri LT and others of that sort can film at reverse speeds. Does one load the film into the take up side of the magazine expecting it to run to the feed side? If this isn't how it is done, does one film the subject normally then assemble the negative frame by frame in reverse? Or is there some other process entirely different to what I am thinking? Cheers :D