Dimitrios Koukas

All this figures have to do with how you will light your negative.I have done a whole feature film with EXR 7245 and I was able to see all the grey bars on the Kodak's grey chart. But If you want all this latitude (most of the times u don't) u have to light this way. Dimitrios Koukas

For TV, the only problem is that u will loose some image left and right of the frame, and for the equipment in the frame u can just zoom it in post if u can, but not more than 10% of the actuall frame. For a theatrical release u should mark your viewfinder at 1:1,85 aspect. Dimitrios Koukas

Hello, Are u using a studio?Or you want to simulate this outside in the street with the car parked somewhere? For the side shot I would used some blurred brojection, in the far background,(you can easily shoot some footage and project it on a surface, canon will not have a problem neither u will need a powerfull projecor. As for the rest of lighting try the poorman's proccess posts as mentioned. Dimitrios Koukas

Old stocks, tend to loose some colour characteristics too, usually the Green curve of the stock gets weaker, wich as a final result u get some magenta tint.A test is the best solution, I would suggest 30meters strip shooting colour patches and a person, with different f/stops. You will then see the tendency of the film to colour some dark areas, especially when underexposed,(all negatives do this) but the old ones maybe will do it more. Kodak is a very reliable company,I have done tests with old stocks,(1-2 yrs after expiration and the result was great), I believe that good storage is the point. Dimitrios Koukas

Is everything outdoors? I believe 5.6 isn't bad at all, actually for many lenses is where they have the best resoulution! Dimitrios Koukas

Hello, All has to do with the action you have in the frame and the movement of your subjects in relation to your lens. For some shots maybe there could be enough space, but for some others it won't. I am suggesting to have the windows for the general shots, placed at nine or three o clock of the camera, so u will have side lighting that could be more even.(By either having lights come in the scene from the windows with any diffusion you like, or by just put some tracing paper on the windows using the daylight itself). But this is just a gesture, I don't have any story board infront of me, to help you more. If you can be more specific, I will try to help you more. You see the action itself sometimes dictates the lighting. If you have a vertical action for example of a person moving towards your camera and the light is placed just near you, the f/stop change could be dramatic, and not so elegant I may say. Dimitrios Koukas

Make the calculations by Sorensen,before u go for shooting and make your own chart. Dimitrios

Is it for TV or projection? U can get very nice greens with fuji stocks, so I would suggest the 250 ASA Daylight (I don't remember the type number sry). This can get you out almost thru the day, and in magic hour. (If you like to keep your f/stops high, where the lens gives it's best).Also maybe you will need a polarizer filter, that will work ok with the 250. In a bright sunlight situation, even 50 ASA needs some ND, so u can use some more for the 250. Dimitrios Koukas

If you are in a voltage system that works at 60HZ period and you have an 180 degrees shuter then no worries at all at 24fps. But if you want to be absolutely sure, there are some equipment that u just point to the light and click and you get their rate. Dimitrios Koukas

Does it going to look like a night when the outside will have three to 4 stops difference?{(wich means that you have to expose for the indoor (usually 2.8 f/stop to 1.4 f/stop)}. I guess it will look more like a daylight shot to me.If you are doing a day for night, just add some ND filter on the windows, to compensate for the difference, and don't use so much difference between in and out. This hard light I guess will be the sun? Usually with an 64 stock you will have an 11-16 T/stop outside when there is bright sun, and a 2.8 near the window (inside). So you have the difference you want, if you want the room dark, expose for the daylight.If you want the room brighter, u will need some fill.Always order bigger lights than the ones you are planning to use, in case you need less, you can reduce it, but what if you need more and you don't have it?? Dimitrios Koukas

Not the same lights you are having, but I guess similar ones, The only thing that you should check, is that maybe they will have different colour temperature. So you will need a colour meter (a three colours one),to check them for small correction filtration like minus or plus green filters.Or even some CTO or CTB.Also you have to use them when your camera settings have an 180 shuter at 24fps. Dimitrios Koukas

Hello, I always trying to avoid putting pro-mists and soft-fx filters further away from the lens! You see if light falls on to the filter the diffusion looses it's grade number and it's very easy to get an overall fogue in your image! Maybe i am wrong here, but by my experience, a pro-mist filter that is graded 1/4 can work as an /12 if you move it away from the lens! Also any light that might fall onto it will fogue the whole frame! I am using them closest to the lens possible and with mattebox masks same to the lens I am using on the box. Just because of their natural characteristics, they will absorb and diffuse any light that falls on them. Dimitrios Koukas

Hello. Do the procedure many times, and the sprockets threading in the magazine, with an allready developed negative. U will be sure that u have the loop correctly and all the threading. So try it with the lids open and use allready developed negative (or positive better). Do the loading and unloading in bright light with allready developed film. By doing this, you will have visualise the procedure for the dark room this way. In case that u will stuck with anything, with your hands in the bag, ask someone to bring you an empty magazine to see it open and figure out what is going on. Most cameras take the virgin negative operator's side (Left) and take-up side is right side.(from operator's view always). There will be no problem if you have a roll-out, it's just a bit tricky in the NPR to cut it, if you have used let's say 320 ft of stock, and u want to save the other 80ft. for another day. Dimitrios Koukas

helo, If you have used more than one film stocks, one light won't help you, because of different film base colour. So you will not be able to do the colour correction after like you suggested. I believe that you have your answers from the two proffesionals above. . It is ok to do one light transfer only when: A: u need a film transfered with keycode on tape for editing, that u will use the traditional way for release: negative editing, A-B roll and blow up or final print. B: When u have your final print and u want it to transfered on tape or other media,Analogue or Digital.(sometimes people do colour corrections to the final print too). Money-wise I would go one light with keycode to edit it, then cut and edit the negative, and after take the edited negative to a Spirit/da vinchi or similar that would do the final colour correction for tape release. Dimitrios koukas

Phil Is right here, and also fibre-optic lights. Also try to use some lenses infront of your lens upside down (head to head), maybe you get make your own macro lenses this way. C mount lenses at 25mm are good for things like this or try if you can find any panfocus lens at 10mm. C mount too for 16mm. Dimitrios Koukas

Cinema Products camera is standard 16mm with magnetic sound. It was made for news gathering.Cp-R designates a model that uses lenses fitted with a CP mount and a built in reflex viewfinder. 16 and 16A designates a model that uses C lens mounts and uses lenses fitted with off-set viewfinders particullary the Angenieux 12-120 reflex zoom. /A desginates the model that has a built in magnetic recording module (includes magnetic heads, amplifier,dual low impendance microphone inputs auxiliary mixer inputs, etc) /DS means double system sound mechanism.I am not sure if this means magnetic or/and optical recording. Any experienced users can help into this? I am not sure if you can still find 16mm magnetic stock. Dimitrios Koukas

Are u going for telecine or projection? For projection I would suggest to rate normaly, but expose for the key light or just a half stop over.(It's a night interior right?)Try not to have too much light comin in from the window.(in terms of f/stop) Develop normaly and do some corrections in the final print. Dimitrios Koukas

First of all, Be an artist, study Art related things too. An artist can draw and qualify under any media available.Later on you will find your preferences. But you have to know all the media available, so you can compare them.Or make desicions. All student filmakers prefer digital media cause it's easy and cheap. That has nothing to do with cinematography studies (digital or film). Find the qualities in you and be an artist I would say. And if I was you that was having to choose, I would go for film studies. Easy way is not always the right way. Dimitrios Koukas

Ivan, Eisenstein probabaly was using one 27mm lens that had optical distortions and one 28mm that had no optical distortions, or there probabaly wasn't any 28mm manufactured those days. I believe that we are talking here about differenses for old cinematographers that cannot compare to the new ones. And let me just tell you this. Do you believe if Bethoven was born today, he will be composing music in a classical Piano?Or he would be a technology geek? So either you are a genius and my humble mind cannot understand you, so I am sorry for this, or you are trying to find differences to things that don't have (except their physical optical characteristics) One inch more or back in the camera can get you the result of an 28 or 27mm. Unless u are talking for an 28mm build up in 1914 and one 27mm that was made today. Dimitrios Koukas

ENG: Electronic News Gathering.Also Pal or Ntsc camcorders.AND also PRO camcorders. Now there are some companies that claim to have prosumer cameras, but it's all about the format you are using and the signal proccessing (bits). Example if you use one D35 Sony camera with a beta SP recorder hooked, then u do have an ENG camera, but with the low to this days quality of BetacamSP. In the same camera u can hook a digital betacam camcorder so u have a Beta SX ENG camera. And because your question is very general, I would have to answer in general and not get to so much details. The basic differences are that most of ENG cameras are called Pro cameras too, cause there are for TV field news production that doesn't have the quality needs as a feature film or a TV drama. So that's why many Sony cameras are using the P (pro) in the product code and some others are using the B (broadcast) code. NTSC has a differential phase distortion problem, wich was corrected by the PAL system later on. PAL counteracts any phase error wich may present on one line by introducing an equal and opposite error on the next line.This errors are canceled electrically by an averaging process in a delay-line matrix,before beeing demodulated and used to write colours into the display with great accuracy. Anyway, PAL analogue picture transmission, contains 432 active lines.(This is what you finally get on your tv when broadcasted), That's because of the physical characteristics of the transmition Bandwith that carries the colour,brightness, sound and sub- carrier in it's signal. So in terms of shooting, most of the cameras that are in the market now, overqualify for broadcasting. But there are some lists in this forums that comparing quality in terms of lines and signal proccesing (bits). Some cameras now (panasonic Varicam) with 1280 x 720 CCDs and many more, have gone beyond all this standards , it's just that the media itself (TV), is still behind in terms of Broadcasting such signals. Physical differences between ENG and prosumer cameras, sometimes is that u cannot change lenses or have a follow focus attached and so on. I can understand your confusion, There are hundreds of new products that claim to be Pro, and not all of them are so (PRO) as they claim to be. If you have specific types of cameras that you want me to help you compare, I will do, Please forgive me of beeing too general here, there are so many cases of different proccesses in signal and formats that would have taken me a day to explain. Dimitrios Koukas

Thank you, I ve corrected it , yes I meant ACL. Dimitrios Koukas :)

Eclair NPR or ACL if you are going for 16mm, But would suggest an AAton too LTR or XTR for S16mm. Dimitrios Koukas

There isn't a comparison in terms of resolution. U can't compare different things,it's like comparing an apple with a banana. TV has lines (interlaced or single field) Film has photochemical emulsion that is made by millions of molecules. Dimitrios Koukas

First, Some simple questions... How long this time lapse you wanna be and what is about.A sunset?A flower? A dinner table? Cause all this as you know have different filming rates, so if it something simple maybe you won't need something so advanced as an equipment. Dimitrios Koukas

If it was me, I will have just sign people that I wanted to use for continuity to any close shots. It's not so much like the old days now, people are more get used to the camera, with all the TV stations today. And if you aren't going for a box office release (who could maybe cause you problems), I am suggesting you to do not worry at all. It's just that people do have the right to be on a frame or not, and especially if they re walking around with their new boyfriend, and kissing in the street, and their wifes see it on tv. You can ruin a marriage , have u ever thought about it? Dimitrios Koukas ;)