JONATHANEDWARDS

There is post called " Bleach bypass for HD" http://www.cinematography.com/forum2004/index.php?showtopic=3080&hl=Bleach+bypass ://http://www.cinematography.com/forum...=Bleach+bypass ://http://www.cinematography.com/forum...=Bleach+bypass ://http://www.cinematography.com/forum...=Bleach+bypass ://http://www.cinematography.com/forum...=Bleach+bypass

I know Home depot here in canada sells Fluorescent tubs for home and office that are somewhat colour balanced. the ones i picked up was phillips and thay just call them Daylight. The home depot sell's them in places were people complain about fluorescent's being hard on the eyes.

Just a suggestion, Kino flos are less expensive then HMI's. If you can afford HMi's in your package you can afford kinos. The Tube in the picture can be picked up at any home depot type place and placed in a 4-foot kino flo thus matching your temp with your location. Then timeing it out is easy or just leaveing it like so Just a suggestion

sound's like its a crewless project. :huh: My guess lynch is getting old and views this as a easy way to shoot his project.

sound's like its a crewless project. :huh: My guess lynch is getting old and views this as a easy way to shoot his project.

man,you need to get laid Phil and please stop insulting 1st AC's . Thats the hardest tech job on set. I think if you saw a good 1st AC at work you would appreciate the job a bit more.

this happend to me twice with the SR3, on the SR3 i use most there is a orange sticker on the top of the mag and if the mag is not cliped in well the flap at the top of the camera does not go down all the way, it leaves a gap and does not cover the sticker. this is the only explaniation i could come up with at the time and now i make sure its not visable. it has not happend again so far. in both cases the arriglow was not on. the fog i had was on the right side and was vary intermittent. this might not be the problem your haveing but if you look at the color of the sticker if you can find it, it kind of looks to be the same color as the foging your seeing. as was the same in my case. i think it to be some what far fetched but it worked for me so far and the camera has shot a lot of stuff before and after the foging with out sending it in for any repairs with no bad luck. sorry i am vary tired and falling asleep so i hope you can understand this. :blink:

David i would suggest you watch man on fire again, personally the two films are incomparable. BLASPHEMY. :o

in the july 2003 American Cinematographer there was a article on 28 days later explaining why video was used over 35mm http://www.theasc.com/magazine/july03/sub/ if you go to imdb.com and search under technical for XL-1 XL-1s you will find some the larger movies shot with the xl1

Was anyone in the pool at the time. i can't see a AD ok with puting a actor in the pool.

I few years back i worked on a MOW that had a short sequence of this women doing laps in a pool. We had a underwater rig for the camera but no underwater lighting and shooting on 500 asa, the DP had 2 4k HMI lights bouncing off 12x12 silks hanging over the pool. This might not help so much with creating a moonlight effect but worked nicely for what we were doing. The interesting thing was he did not meter underwater he had some sort of calculation for light loss per foot underwater. Hopefully some one here knows how to do this as i don't remember. :huh:

I think saying digital projection will never happen is kind of like saying were never going to visit Mars, or like the people that sad we will never send a man to the moon. That sad i like the pops and imperfections i see in the theater and will greatly miss them after we finally switch over, not like i have never complained about a beat up print mind you. Some of the films i shot this year are being shown at the NSI film exchange held annually here in Winnipeg, none of them have made a print yet and were being shown in SD digitally projected. :angry: This is a nightmare for me, the mother of one of the film makers came up to me after and asked why this looked so bad compared to her TV set made in the late 80's. :unsure: I know if there was a better projector it would have looked better but this was the unit stupid AVW TelAV provided (national rental company) and HD telecine is still some what unavailable in most post houses in Canada. The ones that do charge a LOT of money for it and independent films won't spend it if there going to make a print anyway witch is usually after they get extra funding and that takes time. Plus what would you show it on, i don't know anyone with a HD TV set yet but am sure that's going to change as i see there on store shelfs at walmart now. Almost everyone at the screening (over 100 people) walked away cursing digital projection, not because the technology is not there but because you never know finishing on SD or HD how its going to be projected. Everyone has seen good and bad digital, one projector looks ok and others look vary bad. This must count for some of the reluctance from both studios and inde film makers trying vary hard to get funding for 35mm prints. I hope once the changeover happens the Kodak system becomes standard to help eliminate this vs installing systems made by many different company's. Kodak held a tradeshow here in Winnipeg this summer and from what was sad about the Kodak digital projection system sounded good but that is was not available for a show and tell as it called in the tradeshow industry and it sounded like it was still in beta testing. i am sure some one else here knows lots about the system and can comment more about it. Things don't change vary fast in the film industry as i still see some vary large 4 to 20 million dollar productions using reel to reel nagras older then me, this seems crazy to me and must be because anything digital has a shelf life as long as my attention span. So WHY is everyone so surprised its not common. This is only going to happen wean some large theater chain sticks its neck out and makes the investment then regrets it because 2 years later a competitor gets a new nicer more bells and whisels model that looks better compared to the out dated model that has not payed its self off yet and the competitor only got it because of the other theater. Only a fool would be the first to go digital and everyones waiting for someone else to be the fool and work the kinks out. :P So the question is whos going to be the fool sorry about the spelling its like 2am

I know you have your heart set on inexpensive video, but i would suggest looking in to super8 film. A camera can be picked up at a second hand store or garage sale for some times as low as $10 and the cartridges range from $8-$25. If you would like to send your film away to the address Kodak suggests processing is free with some types of film . Most filmmakers don't like doing this and i don't know any one who has so theres labs that will process super 8 cartridges for $25 but you will spend more on the telecine sometimes lots more. I use exclusive labs & transfer in Toronto but theres lots of labs out there in the U.S. Most consumer video cameras look ok on the little LCD screen but at home on the tv look like complete garbage, and pro consumer video has never been so accessible at $5000 for a camera. Just think of all the super 8 film you could buy for that. My own personal preference is the look of super8 student films vs ones done with inexpensive video cameras and super8 has some better festival opportunity's for exhibition. The quality of super 8 can look anywere like old homemovies to almost as good as 16mm with good processing and transfers(www.super8sound.com) Check out http://www.super8filmmaking.com/

Cinematography.com news quote Delbonnel beat out the competition, which included: Dion Beebe and Paul Cameron for "Collateral," Caleb Deshcanel for "The Passion of the Christ," Pawel Edelman for "Ray" and Robert Richardson for "The Aviator."? am not surprised not much of a competition :lol: its to bad that so many people will never go see this beautiful movie because its subtitled.

Most labs give away cans, cores and bags to there customers for free as they are normally happy to get rid of them. I also too would suggest to avoid leaving film in mags even over night its just a bad practice. But the reason given above is a good one. Don't worry too much about the film , i once worked on a short were after we wrapped it took six months to get funds to process it and all that time it sat in the filmmakers freezer. i was soo worried about the film after the first three month and was vary surprised to see the results come back unaffected. :lol: