Nitin Sagar

i want to have the following stuff... 1.Kodak TAF for 5218,5242 2. Unexposed LAD strip for 5218,5242 aND OTHER STOCKS IN VISION2 hoping to find it here...

what is "cc" :ph34r:

i thought i was facing this issue in INDIA(developing/3rd wrl economy) but it seems the same issues are faced in fully developed economies..... i have shot and co produced a film titled 99.9FM ..i shot on super 16...the quality of film processing in india ...unscientific beyond imagination...specially on super 16(on the flip side there are some great dp's like Mr. Ashok Mehta who has shot at least 10 odd films which are world class..all on anamorphic) ...to counter super 16 and my lack of experience ....probably....i knew i needed perfect "chemistry" to translate... i chose frank Cramels Lab in Singapore FTS..a Kodak Image Care Member... i finally did manage to print a test rush print out of (through DI) 5242.... it looks great ...but i want it to look perfect.. i feel if i take my master negative(5242) to my lab in singapore to process and subsequently print anywhere but INDIA i will have the best that could have been achieved from my shooting negative. now my DI facility is telling me that there recorder "is caliberated" to "a certain lab". should not they be caliberating there recorder to the LAD density provided by the film manufacturer(in this case KODAK :rolleyes: )???????

hi there... we rescanned today ...it works now....there was a issue with the scan edl....while taking a edl from 24fps avid partition..it was supposed to be taken on PAL to film option..thx for the info

incidentally i was disucussing somewhat similar issue with a very senior Dp ..who also was the first Dp i ever assisted...my question to him was how different is vision2 from the EXR range...he went ahead and made the same remarks ...more latitude more details in black... As Mr. mullen says with DI one can achieve any look...DI is the most practical and cost effective way of getting to the "look" in todays age.. at the same time Lawrence of Arabia...Godfather ... sophie's choice apocalpyso now...the little buddha(the list is endless)and tons of classics were not DI... as times change it wise and practical to adapt to new technology ..rather than being rigid.... change is always good and for better.... i have never shot anything but Vision or Vision2....but hoping to shoot on EXR100 (in india senior Dp still call it the war horse) befor it becomes extinct..

sir can u explain further.. "lowest granularity".....?

its like asking someone ...do u like coke or pepsi.....? i'm a kodak fan...have shot fuji its far more "granier" than kodak ''''lets not get into technicality for a moment and c film stock as any other product....kodak has been making it (i guess )for a longer time than fuji....kodak knows how to sell..fuji does not...period.

i have shot a lot of time lapse on 500T vision2 thats 7218..its magical....but vision2 200T is also equally good and less "grainer" for sure...this does not mean that 7218 is a "grainy" stock... the thumb rule while shooting 16 is not to experiment beyond "means".....what u have in mind can be done but i feel it would be safer and wiser(..in case it goes wrong...ur friend will have to get married again... :P )to shoot seperately and then post it.....

i've been facing a strange problem....after scanning on spirit 2k....while attempting to assembel the edl on fire/smoke..the edl is not assembeling the edit...it is "refusing" to link scanned images(DPX TC xsists for these images) to the assembel edl...different forms of edls have been tried..like taking a film to PAL option edl from avid 24fps partition...but to no avail yet.....?

i think u hit the nail right on the head...the studio used a 24fps edit list to scan..thats what they tell me now...there was a trim handle of 8 frames on either sides...but now when they are trying to assemble the edit of smoke using a 25fps edl the frames are falling short..not all but shots which are longer than 10secs are definately falling short.....?

facing the following issues when i look at a full frame scan image(1.66) ..it looks slightly oblong...but the moment i see the image in 1.85 aspect ratio it looks perfect...? i am also still struggling with 24/25fps issue...my scans are done at 24fps...but the edit needs to matched at 25fps....so therefore the scans are falling short...i presume the only solution to this is rescan at 25fps on spirit..?

the article has created a big furore in the circle here...specially my comment on labs in the contry..i was not lying just speaking plain and simple truth

Hi i'm a Dp from India ..i'm looking for an agent to represent me

my findings tell me shooting S16 is cheaper and faster than HD... HD has to be colour corrected while shooting ...which takes a lot of time..

unfortunately i'm a producer as well...can anyone help me with some links to camera suppliers dealing with 3 perf camera...also when is the off season for television production in america...

it's an honour to catch ur eye...sir..i have just started...i have co produced and shot 99.9FM...looking forward to interacting with u

Grain is a relative term...i have not seen lakshya but other people have also mentioned this .... as far as 2k scanning and grain is concrned... i feel u must have ur exposure in the right bracket to utilize/work on the DI platforms..otherwise one is trying to salvage the frame..which would lead to lot of manipulation and hense forth a lot of perceptable grain

what would the 1:1.66super 16 frame equate to in terms of (10?? X xxx)when scanned at 2k

the same would work for 70mm as compared to 35mm?

is it still for sale...?

i guess i posted incomplete question...i'm infact looking for links to suppliers either in america but pref. in london ...trying to speak to the director..but from the brief so far they want some heat / haze shots...would haze filter help...i believe they are looking for mirage shots....

Mr Mullen ...ur personal take on 3perf Vs 4perf?

sir....as i understand then...every projector will need to have a 1.85 gate to project the right image....coming from india its a big ask to expect cinema hall owners to make that effort as everything in our country is usually anamorphic.... out here before the film starts there are commercials which run 1.85...then the film runs 2.35...so does this mean the lens and gate in the profector are both being changed......or ..since all these commercials are reverse telecined...they are recoreded in such a format that they look 1.85 while being projected throught the anamorphic lens???

i feel 35 gives you more freedom to take more liberties... any other considerations? ...like 7218 gives a lot of freedom ..hw much more can 5218 offer

sorry guys please excuse the error...should be S35