Leo Anthony Vale

You could try a B/W neg for the front layer. That would be used for the shadows. It would desaturate them, but give more shadow detail. One of the "problems" with bipack color processes was that the front ortho neg also acted as a diffusser, causing the red record to be rather soft. Since the green layer is the sharpest to the eye, the soft red record was tolerable.

Yet the 100T EKneg is sharper than the 50D EKneg. As for the kodachrome, a thinner emulsion is part of the equation.

I think marty is confusing the reversal Monopack with this: An Experimental 35-Mm Multilayer Stripping Negative Film, J. G. Cap- staff, 54: 445-453, Apr. 1950. It's been quite sometime since I read about this, maybe only one feature actually used this stock. But in 1950 there's Eastmancolor neg, Anscocolor rev (the neg came out in '52) & technicolor monopack. The lab work for the stripping neg would be be quite labor intensive, so probably more expensive that Eastmancolor. I had to set up examine the original neg to 'Slaves of babylon' 1953 plus some late 30s or early 40s monopack travelogues. With the 3-strip ngs, the Y and M strips are B-wind, the C A-wind. 'slaves...' had monopack sequences, most seemed like second unit & extra camers for the climactic battle. The seperations from the monopack were all A-wind, so most probably contact printed & the monopack original had been cut before printing it. B- and A-wind negs were intercut. I reckon they relyed on the depth of field of the printer lens to keep both winds sharp. Oddly, the matte paintings were also all A-wind.

the matrix stock had to be exposed through the base & it had to be B-wind. Thus all of the negs were printed optically.

Roger Corman/ Floyd Crosby Ed Wood Jr./ Wm. C. Thompson Robert Aldrich/ Joe Biroc

When WRS was in business, they did most of there printing on Kodak. Loop jobs were printed on Agfa. The loop jobs were almost all commercials for theatres & frequently there would be a flat and a scope version.

The blue is the top layer on neg. The next layer is, or maybe was, a yellow filter layer because the green and red layers are also blue and UV sensitive.

Only a bit? I was amused that the detonator had a label which said DETONATOR in Cyrillic characters. The under water footage was looked pretty good.

Edgar Rice Burroughs. Though, his books did have some humor.

Well, since a horizontal scratch gives a vertical flare, a vertical line scratch will give a horizontal flare.

'...Gardner' is an easy film to forget.

The Canons are faster and less expensive since they are used.

A 91.5mm interocular is awfully large. That's 'long shots' only. An interoccular of half that would be more practical. Though then it would have to use C-mounts instead of PL mounts.

We're expecting the drool on the lens to be the next hot fad in cinematography. http://www.loe.org/shows/shows.htm?program...-00005#feature9

Here's a quote from Stephan Lang at a press conference: "Lang, who plays Col. Quaritch, said, "It owes a tremendous amount to Edgar Rice Burroughs, for example; it's got that same sense of epic adventure of new worlds being discovered," while Saldana said it's really par for Cameron's cinematic course. Read more: http://www.post-gazette.com/pg/09347/10200...m#ixzz0eBFgdn60 Whodda thunk Stephan Lang read Edgar Rice Burroughs. But it's a good way of looking at Cameron.

They were electronically synced using 3-phase sel-syn motors. That's self synchronising motors. Sound was synced the same way until tape, Nazi technology, was introduced.

That luminousray advice goes for you too.

if only Criterion wasn't so expensive. At least they restored the basso profundo deacon to 'Ivan the Terrible'. Why would anmyone remove him? I still recall James Earl Jones telling David Frost that that was among the greatest bassoes on film. He probably had the only real beard in that movie, one of the greatest ever. The movie, not the beard.

The ad says: 2.5mm lens has approximate 140 degree field of view IF using a 1/3" ccd A 1/3" ccd is about the same size as a regular 8mm frame, thus it won't cver the entire 16mm frame. & the 5.5mm back focus won't clear most, if any, reflex shutters

Violent? Here's a lengthy article discussing Hong Kong and Japanese scope movies: http://www.davidbordwell.net/essays/shaw.php Here's an extract discussing the use of expanded compositional possibilities by the Japanese: Even the straightforward scenes tend to rely more on low angles, more outré visual effects, and staging in depth, even if not all planes can be well-focused. In these ways Inoue’s visual style leans a bit toward the prototypical Japanese use of anamorphic widescreen, which tends to be more varied and flashy than that elsewhere in Asia, or indeed in Western countries. A distinctively Japanese treatment of widescreen, then, was imported to Hong Kong but toned down. The process is apparent in another genre that emerged in the mid-1960s, the spy film. The Japanese had already begun imitating the James Bond series when Hong Kong studios followed suit with The Golden Buddha (1966) and Angel with the Iron Fists (1967). Two early entries in the cycle, The Black Falcon (1967) and Interpol 009 (1967) were made by the imported Japanese directors Furukawa Takumi and Nakahira Koh, both leaning heavily on their hits back home. Other spy adventures followed, from MP & GI and other studios as well as from Shaws. As the cycle faded, Shaws’ émigré directors moved toward the crime thriller, in such films as Diary of a Lady-Killer (Nakahira, 1969), A Cause to Kill (Murayama Mitsuo, 1970), and The Lady Professional (Akinori Matsuo, 1971). Again, the mise-en-scène of these genres gets the inflated Movietown treatment, at once lavish and tacky. The cavernous lairs of Mabuse-like villains are rendered as vast sets, brilliantly lit and throbbing with saturated primary colors. These master criminals worry more about interior decoration than world domination. Angel with the Iron Fists (1967): A huge Movietown set becomes a master criminal’s headquarters. Compared with the other genres I’ve mentioned, though, the spy films and thrillers tend to have flashier camerawork. They take advantage of Run Run Shaw’s decision during the building of Movietown to rely on post-dubbing rather than direct sound. Freed from worrying about microphone placement, the director gains flexibility of camera position. In the Japanese émigrés’ films, entire scenes may be handled in low angles, and many shots offer canted framings. The compositions often make bold use of architecture, slicing the visual field into modules and spreading the action out to the very edges of the frame. Partitional framing in The Black Falcon (1967). Black Falcon: Extreme edge framing for suspense in the anamorphic format. In particular, the Japanese fondness for partially blocked action, what I’ve called elsewhere a “game of vision” that teases us with important story information shifting in and out of visibility, is occasionally seen in the spy films as well.19 In addition, the cutting in these genres tends to be somewhat more rapid than in the costume pictures and musicals, with average shot lengths in the five- to seven-second range. Three examples suggest the ingenuity that occasionally emerges from these formula pieces. In Interpol 009 (1967), Nakahira Koh creates a game of vision when agent 009 is jailed. The other prisoners are clustered around him in the middle distance, leaving a gap that reveals his face. As the men pull a bit away from him, they open up an area in the distance that a guard can step into, summoning the hero to leave. Instead of cutting, Nakahira sustains the shot by having the agent leave the cell, bidding farewell to the others from a tiny slice of space in the distance. As Japanese directors often do, Nakahira has pulled the action into ever-smaller zones of depth and obliged us to follow slight changes within quasi-geometrical patterns. Murayama’s A Cause to Kill (1970) centers on a woman who sets up her cheating husband to be murdered, only to find that the husband has killed the hitman. It is a frank plagiarism of Dial M for Murder, complete with a cunning police inspector and byplay with latchkeys. It’s also strongly Japanese in its stylization, from abstractly composed high angles to aggressive foreground planes. A parking lot becomes a geometrical pattern (A Cause to Kill). A telltale briefcase looms in front of us while characters argue in the distance. A florid game with a lampshade suggests that Murayama had been watching The Ipcress File (or maybe Godard’s Contempt). One of the most striking flourishes comes when the accused man’s lover is shown sitting down in the bedroom while the cop checks the wife’s handbag for the latchkey. An off-center shot of the wife sitting down by a chair is abruptly cut off by a stark close-up in which the handbag occupies the chair’s spot and the detective lunges forward to seize it. Achieving this sort of visual accent through tight framing and graphically matched cutting is common across the history of Japanese cinema and is quite unlike what we find in most Shaw productions, even other spy films made by Chinese filmmakers. The same sort of stylization emerges in the set-pieces of The Lady Professional (1971). By now, it’s apparent, directors had the continuously variable focal lengths afforded by zoom lenses, and director Akinori embraces extremes of rack-focus and distortion to achieve shock effects. We watch a bowling match from inside the pin array: The player rolls the ball and we shift focus to a huge close-up of a pin before it falls over. [ A dying man flails at the camera, his hand enlarged out of all measure. A killing at the bowling alley is rendered in an even more bizarre way. Offscreen the bowler is shot, and blood drips onto the electronic scoreboard. We then get a huge close-up of the bloodstain spreading on the scoring panel. Cut to a shot of the victim slumping as a woman shrieks; the composition makes the violence hard to detect. He falls forward dead, into a grotesquely distended close-up. This last shot seems to have been filmed in the 1.33 format and printed in anamorphic proportions! Just as the huangmei and wenyi genres motivated a solemn approach to cinematography, the suspense and violence of thrillers justify an exaggerated treatment, along with some startling experimentation. But I’d argue that the most vigorous innovations occurred in another genre that, retooled in the mid-1960s, pushed the others out of the spotlight. Sorry about the illustrations, they are in the link.

Sure Roger rabbit is cel animation. My computer time was running out and was unable to finish the post pproperly. But the point is the "lighting" on the toons is like the "lighting" in CGI, in that neither uses real light, but basically use drawn on lighting which is not intrinsic to either process. Admittedly we're getting perilously close to Plato's damnaable cave. But the real deal is that CGI usuaally looks like a painting rather than photorealism. I've yet to see 'Avatar' or 'Sherlock Holmes' in a theatre, but the CGI in the TV spots sure looklike paintings and video games. Al Whitlock was capable of producing photorealistic matte paintings. OOps, 5 minute warning!

There was real CGI in it. Not for the "live action", that was shot on 65mm DXN, copied onto kodaliths, rephotographed through color filters onto VistaVision. But vehiciles like the racing 'cycles and the flying ship were CGI, out put onto VistaVision.

In the late 70s the price of Kodak raw stock doubled in a few months because the Hunt brothes of Texas were trying to corner the silver market.

Hate it. Uses too much music videoish stuff to drag it out. Might be worse than CSI:Miami.

Let's say elaborate Disney multiplane animation. I was referring to the total artificiality of CGI. You say that CGI uses lighting, but it's not really lighting but a simulation of lighting. & there has been CGI without lighting. 'Roger Rabbit' had lighting added to its cel work.