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panagiotis agapitou

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  1. Was wondering if EVERY motion picture lab can procces SLR's 5219
  2. Is there an app for 35mm film viewfinder ? ARRI's one has only the digital models .. i'm looking for standard 35 academy 1.37
  3. I think modern pictures suffer from overgradding ... try gradding ONLY with tools that were available in that era .. e.g. timing r-g-b - affect ONLY the full frame - etc .. (i mean do diggital gradding but only with the 90's available choises)
  4. That's a great thread !! I want to add some examples of "90s look reference" that i watched recently on tv channels or netflix -AS GOOD AS IT GETS - DISCLOSUR Also there was 'Heat' on tv .. and even though i think it's more "dark" that the classic 90's style .. it was SO different that the modern movies that was the same time on other tv channels
  5. Larry Smith said that Kubrick would test all new digital cameras and at the end he would say "nothing tops film quality"
  6. I'm studying about masks and i'm a bit confused .. the shape of the masks is not a perfect rectangle ... it has round edges .. and so the image on the hard matte frame has the same shape (like this original negative from Clockwork Orange outtake) So .. how you compose a frame ? On the viewfinder or the monitor you see the whole shape or a (cropped) perfect rectangle ... that means that you MUST have also a groundglass to see where the margins are ?? Thanks !!
  7. Also i found that still .. that is extremely different than the home release versions
  8. I have not seen a 35mm print and i'm trying to find trailers or stills from the theatrical release era that looks similar to that look .. I found this trailer that seems to fit yours description !! Please check it out and inform me Thank you very much !!! 🙂🙂🙂
  9. That's also a question of mine ... Kubrick used to test immidiatelly every new lens that came out ... So may he preffered the b speedlook that the mkiii?? 1. ... (from ACM) Smith reports that Kubrick actually asked DiGiulio to recalibrate the Barry Lyndon lenses for use on Eyes Wide Shut, but eventually scrapped that plan. "Stanley wanted to shoot with available light and real sources wherever possible," Smith relates. "We discussed the idea of using the f0.7 lenses from Barry Lyndon, but they just weren’t right for the type of shooting we were doing. Stanley wanted to be able to show some of the sets, such as the ballroom in the opening party sequence, in 360 degrees, via extensive Steadicam work and wide-angle lenses. He wanted to give the actors the flexibility to move wherever they needed to, and he also wanted to swing the camera around the room without worrying about where the lights were. Furthermore, Barry Lyndon was made more than 25 years ago, when film stocks were rated at 100 ASA. Now we have the luxury of 500- and 800-speed stocks, which eliminates the need for specialized lenses like those old f0.7 Zeisses." So may the mkiii upgrade was a compromise just to have the extra 0.1T ? .On the other hand I have study many of EWS daily continuity reports .. and even on external night scenes the maximum aperture came across is T1.4 ... never a T1.3 !! (May did not want the lens fully opened ?!?!?) 2. Maybe the upgrade was becouse he found out that the mkiii match up better with the Variable Primes ?? (Also from the reports I have noticed that on shots with smaller than 2.1T and focal length available on the super speed scale .. he usually PREFFERED the Variable Primes (e.g. 18mm - 35mm - 65mm)
  10. https://www.telegraph.co.uk/news/2019/05/04/return-reel-to-reel-musicians-reject-digital-better-sound-dated/
  11. Wish i had a 35mm projector in my home and the prints of my top 3-4 movies !!
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