Leo Anthony Vale

Or you could listen to NPR. Not that they're perfect, but not bas annoying as Fox.

Here's five minutes of time lapse footage of aurorae from the ISS: http://io9.com/5859010/were-99-certain-this-is-the-most-beautiful-footage-of-earths-auroras-yet-recorded "We’re 99% certain this is the most beautiful footage of Earth’s auroras yet recorded Boy howdy, this video definitely confirms that if you're going to gaze at our planet, the International Space Station is the best seat in the house. This video was shot during Expeditions 28 and 29 aboard the ISS from August-October of this year. Time to pretend you're an alien fleet joy-riding through the Milky Way. Sure, we've seen glimpses of the aurora from the ISS (as well as some pretty spectacular shots of Earth's cities below) before, but Michael Konig's trippy five-minute crawl over the continents will make you feel like you're riding shotgun in Thor's chariot, looking for the next exit to the Rainbow Bridge. Here's the progression of the footage: 1. Aurora Borealis Pass over the United States at Night 2. Aurora Borealis and eastern United States at Night 3. Aurora Australis from Madagascar to southwest of Australia 4. Aurora Australis south of Australia 5. Northwest coast of United States to Central South America at Night 6. Aurora Australis from the Southern to the Northern Pacific Ocean 7. Halfway around the World 8. Night Pass over Central Africa and the Middle East 9. Evening Pass over the Sahara Desert and the Middle East 10. Pass over Canada and Central United States at Night 11. Pass over Southern California to Hudson Bay 12. Islands in the Philippine Sea at Night 13. Pass over Eastern Asia to Philippine Sea and Guam 14. Views of the Mideast at Night 15. Night Pass over Mediterranean Sea 16. Aurora Borealis and the United States at Night 17. Aurora Australis over Indian Ocean 18. Eastern Europe to Southeastern Asia at Night And the soundtrack to your flight is Jan Jelinek's "Do Dekor (Loop-Finding-Jazz-Records)."

I recall that in an interveiw published after 'Excalibur's erelease that Boorman stated it was 1.66/1.

The sides of the TV safe area will give you the side lines for 2.35:1/2.4:1. Apparently Ang. orignally developed a 12-150mm zoom for a NYC camera house, then realized that if they allowed vignetting at close focus on the wide end, the lens could be adjusted for a 10mm wide end. Some of the 12-150s did get out on the market. There should be should be interconnecting locks between the f-stops and zoom control, so that if you're wide open, the zoom will stop where the f-stop changes. Stop down to f/2.8 & you zoom all the way through. The 9.5-54 is similar. It seems some cameramen had this mechanism disabled or,perhaps, it breaks rather easily.

I've never seen one, but back when I was reading old stereogrphy books and going through bound magazines at the library I came across info about it. It's a fixed focus C-mt lens with a stereo prism mounted on the front. No adjustments, thus fixed convergence too. So you get a vertical format. http://digitalstereoscopy.com/kaiser/m50n51.htm http://digitalstereoscopy.com/kaiser/m52n53.htm http://digitalstereoscopy.com/kaiser/m290n291.htm You Can't find this stuff yourself? I don't have unlimited internet time.

IMDb's entry for 'Flatliners' doesnt mention S8 either. The "video footage" was actually anamorphic S8.

Old Arri literature says Kinetals from 17.5mm up can be used on the 16BL. I think the same goes for the SR. The Zeiss 8mm Distagon will work. At Sawyer, we had two 10mm Schneider Cinegons. One would go on the BL, the other wouldn't. The difference between the two was the older one had a bit of a black flange around the back element, the newer one didn't.

She was was Empress of India & empress outranks queen. & she had a cute German accent. But then Napolean Buonoparte spoke French with an italian accent.

The circular unit is actually a close up attachment which fits onto the basic unit. The rears of the 12.5mm Yvars is far to close to the film plane tobe able to clear the prism.

But this is also an attachment. It would have originally came with a 50mm still lens, probably with a Nikon mount. If it covers a 50mm 24x36mm format lens it will cover a16mm 16R lens. The problem is building a bracket for attaching the lens to the camera.

My bad, the ECNII 5247 was introduced in 1974. They had been pushing '54 to EI 200 400 & had the lighting down. But when '47 was pushed, the colors in the high lights & shadows shifted in different directions. I'm thinking the high lights went red & the shadows went green. Some DPs thought that Kodak deliberately made '47 unpushable because it didn;t approve of non standard processing. & Gordon Willis complained that the finer grain of '47 yielded images that looked like linoleum. Go Gordon! What must he think of digital images? I went to cinematographer seminars at the AFI around the time 5247 was introduced. & most of the top DPs complained about '47 because it wouldn't push well. As I mentioned above, Paramount used the Stein cameras, which were used for Fox Color, which was the two color Kodachrome process, which used an 8-perf pull down. http://2.bp.blogspot.com/_VRME60-RLag/R1Q4nVuiiwI/AAAAAAAADwE/QDHDXKxr7SQ The 2-color Technicolor was a variation of the B&H 2709. So it had those noisy B&H movements and no rack/over. Though I can see the 8-perf B&H movements being put into an animation camera or a printer camera. 3-strip Technicolor cameras were converted to 8-perf & were the cameras used after 'White Christmas'. The first Mitchells were delivered to the 'Ten Commandments'. This site has copyrighted photos of a Technicolor VV camera. One of which shows it without the magazine housing, but with the magazines in place: http://www.pbase.com/zanzinger/image/109391276

The 1.85/1 image height of 16R is around 0.202", while the height of 2,35/1 is around 0.202". Hmm?

The name Kodachrome was used for a two-color process dating back to 1915. The 35mm cine version used an 8p vertical pull down with a red and green frame. The negs were printed onto a print stock with emusion on each side, then toned red and green. The prints were similar to CineColor prints. From The WideScreenMuseum: http://widescreenmuseum.com/oldcolor/subtract.htm Fox used this process in 1929/30 under the name FoxColor. In the 50s, these cameras were bought by Paramount for the 1st & maybe 2nd VistaVision movies. they were mounted on their sides, hence "lazy 8". If Kodak recycles stock numbers, e.g. 5247, their first color cine neg 1949 & the first ECNII stock in 1976.

This was gone over in the past, look it up in archives. But if you're stopped down below f/3.3, 3.5, the problems disappear. Bolex marked f/3.3 & f/3.5 Pan Cinor and f/3.5 Kern zooms which were not RX for use on the Rexes.

The last 3-strip Technicolor movies were made in '54 or '55. But it stayed on as a lab processing orig negs and making release print. "The Birds" probably had had Technicolor IB prints. Some of the 3-strip cameras were later used for FX work, shooting traveling mattes, sodium vapor and infra-red. Ub Iwerks & the disney optical department did the traveling matte work on 'The Birds'. Disney used the sodium vapor process with a Technicolor camera. What ran through the camera was a strip of ECN and, I think, a strip of Plus-X neg for the matte.

In C.S.Lewis's 'The Screwtape Letters' Hell is the office building of a huge bureaucracy. In 'Bettlejuice', Hell is depicted as the waiting room of a welfare office or DMV office. We're not in the Middle Ages anymore.

There were also problems with dust and dirt in the labs. Though 'Grey Gardens' used 7254. It has great flesh tones. 7254 was used in Europe, I think mostly for TV.

Production stills I've seen show rack over Mitchells being used, BNCs, NCs & standards. They were probably using the older Just Plain Baltars, the shortest of which was 25mm. They could have been using S35R/MkIIs, which would use Super Baltars, but not for dialogue scenes. Any lens shorter than a 25mm on the BNCs would not have been a B&L lens, most likely a Cooke or Angie. It was shot in Eastman Color, processed and printed by Technicolor.

They did. Raumfilm Zeiss Ikon. Here's a variety article: http://www.variety.com/article/VR1118032274 Mora seems to be ignorant of the history of stereo cinema. I've never heard of those two films refered to as propaganda. Ray Zone mentions in his'Stereoscopic Cinema and the Origins of 3D Film' that there was raumfilm Agfacolor documentary footage of the Russian Front. This has better information of the Zeiss Ikon system: http://www.boffo.com/2011/02/source-wowed-by-scorceses-3d-hugo-cabret.html The system was used to shoot Volkswagen advertising shorts in the 50s.

From NPR Morning Edition earlier this month: Advances In 3-D May Mean No Ridiculous Glasses http://www.npr.org/2011/04/01/135033545/3d-surgery

Hitler would be in Agfacolor. & the others in Kodachrome. ---El Pedante

I used some of those CalArts Arris when I was there. The story there was that the cameras were used on the wild life documentaries. They were beat up and the lens mounts were worn down enough so that an Angie zoom wouldn't hold focus. Impressed that the ground glasses had 1.85 markings. Also in the building was a Disney animation stand that had a Kodak CineSpecial mounted on it.

The PM? Do you mean Vladimir Putin?

Sir Larry Olivier's 'Hamlet' is full of 50mm deep focus camera work. & Kurosawa's films, particularly the TohoScope ones, extensively use deep focus with long lens, the 200mm range.

The Soviets had that in the 40s. They abandoned it for the polaroid glasses.