Leo Anthony Vale

---The 28/56 was the older US copyright & at that time, i believe, performances couldn't be copyrighted. While Europe was life plus 75 years & performances were copyrighted. US copyright law has since been changed & is more in line with Europe. It was then further modified to make it excedingly complex with damnear never ending copyright. Safest thing is to stick to original arrangements of Bach and Vivaldi which you are playing yourself. Foes shall never see Russian towns and fields. They who march on Rus shall be put to death. In our Russia great, in our native Russia, no foe shall live. While the Soviet Union did not honor international copyrights, Prokofiev and other soviet composers would publish in France or England to have proper copyright. ---LV

---'Chinatown' was mostly shot with a 40mm anamorphic. Alonzo and Polanski considered that equilvalent to a 25mm in 1.85 because it had the same vertical angle. The vertical would be the more critical dimension since it determines camera distance from a subject for a particular shot size. 1.85 is still wide, though comparing 1.33 and 2.35 would be trickier. ---LV

DON'T GO NEAR THE HOT DOG STAND!!!!!! ----LV

---in 35mm 1.85/1 it 's 25mm. This is based on vertical angle i.e. the height. In 2/3 HD it would be about 8.7mm, based on width. ---LV

---It is a 1975 movie. The networks were still running 35mm prints on film chains. So a there would be a 35mm pan&scan I/N of it. Either some one at Paramount ordered a print from the wrong I/N or someone at the lab pulled the wrong I/N. Still someone should have noticed the screwup. ---LV

---Hopefully as a TV series, where the newspaperman interviews a new kane associate each week. Since the season finale will need to end on a cliff hanger, we won't find out what Rosebud is; but that Arkadan might have it. ---LV

---The 'Chicken Run' article in AC states: The filmmakers used Canon K35 prime lenses (in sets of 25mm, 35mm, 50mm and 85mm), which were specially converted in Japan for close focusing. These were used in conjunction with Cooke 18-100 T3 zoom lenses and one 25-250mm T3.7 Cooke zoom. Barnes offers, "In the studio, we traditionally stick to the Canon primes, as they are all reasonably well color-matched, have similar coatings and are contrasty to a similar degree. They intercut pretty well with the Cooke zooms without significant grading problems." For wide shots in tight corners, the production made use of two 14mm Canon still-photography lenses converted with BNC mounts. ---Are the EOS lenses replacements? ---LV

Actually it's: DelMonte: catsup Heinz: ketchup Yins is usually more acceptable than y'all ---LV

---C.Hall said that he shot 'In Cold Blood' in Panavision so it couldn't be misframed in projection. I first saw 'Eraserhead' in 16mm. The print was hard matted to 1.85. I later saw it a few times in 35mm, each time projected at 1.33. While ther were no mike booms at the top of that frame, there were occasionally clip on lights. 'Lord Love a Duck' is infamous for mikes at the top of the frame. IMDB.com claims that was deliberate, but the audience never got the joke. No source given. 'Sleeper' also had mikes in frame a lot when watching on it TV. David walsh was the DP. I watched him shooting a night exterior in san Francisco for 'The Laughing Policeman'. He was talking with a gaffer or operator about a light appearing in the frame. He was told that the light was flagged off, but the flag was visible. 'Can you see it in 1.85?' 'No.' " I don't care if they can see it on TV.' ---LV

---Obviously an anamorphic printer lens, not a consumer camera or enlarger lens. ---LV

---I seem to recall there used to be 'trim bins' in American film editing rooms. It had a rack over a cloth bag. There were wire hooks on the rack, on which lengths of film were hung by those funny little holes running along the edges. Sometimes the editor would snip off bits of film he didn't want. He would call those pieces trims and toss them into the cloth bag. Or maybe it was just due to something I ate before going to sleep. ---LV

Sorry, while I don't know the single frame shutter/prism speed offhand, don't assume it is the same as 24fps. on the RXs it's the same as 8 or 12 fps. One would always see animation students doing which mixed single frame with 24 fps bursts. Yes, there was a very noticable exposure shift. Yet they never seemed to catch on. ---LV

---Yes, it was availiable on CD. Much of it was recycled in "Shoes of the Fisherman". Certainly the main theme. ---LV

---Saw 'Schizopolis' over the week end. In both the cecil b. demille homage introduction and outro, teh turret is rotatated in shot. ---LV

---The 1939 'The Hound of the Baskervilles' has no music,. Bela Lugosi 'Dracula' only has 'SwanLake' over the main titles, Some Wagner in the theatre scene, but this is being played at the theatre and some wnd title music. Prior to 'King Kong', music in a non musical film was quite rare. My favorite scores are Prokofiev's for 'Ivan the Terrible' and 'Aleksandr Nevskii'. I would say that the 'Tatar steppe' theme from Ivan is one of the most beautiful bits of film music ever. It's recycled in Prokofiev's opera 'War and Peace' as the Kutosov/Mother Russia theme. 'War and Peace' was written at the same time as "Ivan Grozni and Eisenstein worked on the libretto. ---LV

---Adding two +1 dioptres together gives you +2, which makes that the equivalent of a single +2. One can also express the distance the cameram lens is focused on in dioptres. So if it is focused at infinity it is 0 (zero) dioptres. If at one meter it is focused at +1 dioptre. Put a +1 dioptre on that and , it now focuses at +2 dioptres, 1/2 meter. Hopefully thats not too unclear. Also some lens manufacturers, such as Nikon give an arbitrary model number to their close up lenses. The above will not apply to those numbers, but the actual dioptre ought to be listed. ---LV

---They're lenses, not filters. The numbers are their focal lengths in dioptres. A dioptre is 1/focal length in meters. Thus a +1/2 has a focal length of 2 meters. a +1 is one meter, a +3 is 1/3 meter. Put one on a lens focused at infinity, the system will focus at the focal length of the cu lens. Adding the diopters together gives the combined focal length of the system OOPS, gotta go. More later. ---LV

Oddly enough there's one in 'Guess Who's Coming to Dinner'. Isobel Sanford walks up to Sidney Poitier to tell him he better not be trying to puull on over on K.Houghton. When she gets in his face the camera dutches; as she leaves the room, it undutches. ---LV

---Doesn't it always. Tiffen doesn't own the trade name Proxar. So it has to make up it's own trade name. ---LV

Since that was 35mm techniscope, most unlikely. I believe "The Endless Summer" was shot mostly with Bolexes, but can't give you the models. ---LV

---I've gone through newsreel out takes in which the lens on the turret is switched while the camera is running. an interesting look, the picture streaks out top of the frame and a different size picture streaks in from the bottom. I think there's a scene in 'Shadows of Forgotten Ancestors' where this is done. ---LV

---You'll have to get a new orangewood stick. But i thought one needed two for eating a salad; or is that for the prepackaged Giant Eagle sushi. I wish they'd stock hawaiian with the spam, not that california with the avacado is bad... ---LV ---If you can get around those annoying victims rights activists, you might get a book and screenrights deal out of it. ---LV

I used to get something similar with a 16mm spring wound Beaulieu. That one was diagonal and protruded further into the frame at the beginning of the shot. Once when my brother was shooting time lapse without covering the viewfinder, it went thru the entire shot. So yes, it comes from the viewfinder system. I think it's caused by the mirror and shutter coming up to speed together at a slightly different startup speed for each. I've never compared it with other Beaulieus, but suspect it's a normal, but not usually noticed, Beaulieu artifact. ---LV

---Are you familiar with Werner Herzog? In particular, watch 'Grizzly Man' and 'Little Dieter Needs to Fly'. The former is mostly DV footage shot by a man eaten by a grizzly bear while 'studying them' and protecting them. Herzog also talks to people who knew him. There's voice over, but mostly the grizzy man speaks for himself. In 'Little Dieter...' , Dieter starts to tell his life story, which turns out to be surprisingly amazing. Seeing how Herzog handles this material could give you a starting point. ---LV

---Which version? Didn't RKO pay off the Conan Doyle estate over that 'Lost World' thingee? Though did not have to admit to being influenced in anyway by 'The Lost World'. Monkeys have tails. Apes do not have tails, or at most a stub. ---LV ---What plot does Ron Frickee's 'Chronos' and 'Baraka' fall into? Or Bruce Conner's 'a Movie'? How 'bout that Jordan Belson? ---LV