Nitin Sagar

i am going to be shooting S35 ..intending to shoot 3perf...for an anamorphic print through DI..my first question is. when i frame for 1:2.35.....is this the place where the squeeze is happening.. any lensing consideration for this....?

while scanning on Spirit how does an edl from avid work? the film is cut at 24fps...one makes a 25 edl from avid...now spirit obviously is scanning 24fps as that is what the negative has...so why does one make a 25fps edl...is it so because spirit only reads 25fps? the other issue is sizing...the aspect ratio i shot on is what is getting scanned...right? the camera i shot on had a 1.66 gate..but i have framed for 1.85...so whatever the spirit scans ..i go ahead and put a 1.85 letterbox on it ..on fire or whatever later :unsure:

while scanning on Spirit how does an edl from avid work? the film is cut at 24fps...one makes a 25 edl from avid...now spirit obviously is scanning 24fps as that is what the negative has...so why does one make a 25fps edl...is it so because spirit only reads 25fps? the other issue is sizing...the aspect ratio i shot on is what is getting scanned...right? the camera i shot on had a 1.66 gate..but i have framed for 1.85...so whatever the spirit scans ..i go ahead and put a 1.85 letterbox on it ..on fire or whatever later :unsure:

hi i'm looking for a long lens for a digi beta camera...i know ita a bizare question...but i;m trying to figure from my client what he means by "long lens".. any links help is needed

i have been struggling with this for over a year...thank fully i shot my debut film S16.... over the last year i belive in the following 1. i'm based in india...shooting S16 is cheaper than shooting HD. 2.if one wants to shoot hd then the Dp needs to clor correct to the closest posible desired look while shooting.....unlike 16 where one can shoot keeping just the contrast ratio and bracke tin mind...and then color correct on luster etc...i firmly belive in this...to cut the long story short...i feel shooting HD is more time consuming than shooting 16....and time is money.

have just finished shootin S16 feature film...........m doin a DI for 35mm print (1.185).... my film has a lot of night....coming from india i took a bold step of using 7218 for the entire film(coming from india where 16 is really mistreated by labs) but made a smart move by processing at image care lab... i totally agree ..on the exposure front..specially on 16 the bracketting needs to b spot on... before shootin i read michael chapmans interview(masters of light)...he says if shootin night as long as u make sure there is atleast one completly burnt out portion on the neg...the grain structure balances itself.... i tried , it definately works.... grain makes the emulsion...grainy image is a subjective term.....as long as u get the bracket right u can have a pretty much "grain " free image.... best regards

hi i'm a Dp based in india... i have just coproduced a shot a film S16mm scanned on spirit corrected on lustre confirmed on fire and printed via arri laser.... have just finished doing the trailer...looks good...u must have tried 7218.....i shot d entire film 18....dude i think the stock is made for digital post... lets keep in touch best regards nitin sagar

welll this is new..where i come from.. telecine is far cheaper than scanning...can u tell me in what context are u comparing the cost difference b/w telecine Vs. scanning best regards nitin sagar

thx for throwing light and exposing the dormant halide particles ,,,,but some halide particles are still strugling luster is a color correction platform....scanand record setting can differ ....as pricipally v have d sa,e LAD for neg film to obtain consistecy ingrading..ireespective of 16V35....then what all factors can effect seetings change...the one tHAT ICAN THINK OF IS ASPECT RATIO amithinkin on right lines......?what can be other reasons

hello, looking forward to learning about look up table on luster( discreet platform) for grading of scanned images to be finally printed back on to film.my studio is tryin to tell me that they need to recalibrate the machine for 16mm....i find this inane as i have used the same emulsion(instead of shootin 5218 i shot 7218)..just that the gauge is different. is it possible that the machine has to be differently calibrated to grade 35mm and 16mm footage..scanned at 2k on spirit? i firmly believe my studio is giving me some bull..looking forward for tech information. can anyone tell me what exactly one means by look up table? best regards nitin sagar(a DP in distress) :(

hi there, i have shot a lot of stuff on 16(super 16)...i personally love shooting on tungsten stock uncorrected,,.... the only catch lies in telecine..if its for television broadcast it's ok /....infact i love it.try kodak vision2 5218/7218.....its just magical..even for daylight.