Rodrigo Prieto

Amen! That is exactly what I think. Every movie I have shot in the last 5 years, I have tested printing stocks in different labs and DI companies (Efilm, Eclair) and came to the same conlusion. John: Please mention this concern to the powers that be in Kodak, as I would like to print on Kodak if I am shooting Kodak negatives. Maybe, as you say, something in the DI is causing the problem I have perceived in the blacks on the 2383, but this doesn't happen on Premier or Fuji 3513 DI on the same film-out machine. I just don't like having to go through enormous amounts of politics and convincing to get a few prints on Premier, and then having the rest of the prints not to my satisfaction. It is quite frustrating!

Dear Dirk: Thanks for your insights. I will test the CP30 (sounds like Star Wars) for the project I'm prepping. I am curious to hear if anyone from Kodak has something to say... TSM: I am glad that you liked those films, thanks.

I have been a bit frustrated when it comes to printing by the limited options offered by Kodak in terms of printing stocks. I have found that, especially when doing a DI, the normal Vision 2383 has weak, milky blacks. I much prefer the blacks offered by Vision Premier 2393 for DI since I can desaturate the colors if necessary, and play with the gamma to have softer contrast, but still deep blacks (if that is the intention). The problem is, of course, the cost. Even for "Alexander", it was impossible to convince the distributors to make all the prints with Premier! And then, when I finish a film through photochemical process (like I am doing now on "Brokeback Mountain"), the Premier is too saturated, and a bit too contrasty for the look we want. Still, I am not happy with the blacks of Vision 2383, so I have decided to print on Fuji 3513 DI, which has nice blacks, but some colors lack the saturation I would like (specifically the greens, and the film has many landscapes). I have heard that Agfa has a new printing stock that is pretty good (CP30), but I have not tested it. does anybody have comments on this stock? Also, does anybody know if Kodak is developing new print stocks? It seems to me that with the imminent advent of more Digital capture, the issue of printing stocks becomes more relevant. Thanks!

In the General Discussion Forum, I posted a question about Night Vision for a film I am prepping which has a scene in a desert at night. I am looking for ways to shoot with the least amount of lighting possible (or even in moonlight). I am exploring the Genesis camera or other HD cameras pushed to the limit. Luke Prendergast suggested removing the IR filter, but I don't understand what this means, and if it indeed would help with capturing extremely low light levels. Has anyone done this, and what effect does it have on the image? Please explain it to me as if I were a 4 year old. Thanks!

Hi Francisco, I went to Panavision to look at their Night Vision device used in Roller Ball. It is a Generation 3 Image Intensifier. Is the Clairmont one a Generation 4 by chance? I don't want the green military look, but maybe with color correction and sky replacement this potentially could be interesting, especially the performance of the actors (that includes children) working in real darkness. I am also looking into the Genesis camera at 12 gain, without a shutter, but I still don't quite understand the "remove the IR" concept that some have posted. What would that give me in terms of exposure and look?

Andrew: Thanks for your comments on Amores Perros. The new film I'm working on is also with Alejandro Gonzalez Inarritu. The Optar Illumina are good for Super 16? Where can you rent them? Do you prefer them to the Zeiss? How about Zooms? Also, what is the difference betweetn the Arri SRIII Advanced and the Arri SR III?

Hi Matt, Yes, I shot those films. I don't need really to match the Ultra Primes, but I do want good sharp lenses. I am concerned about the loss of definition of the Super 16 blown up to 35, intercut with other parts of the film that will be 35mm. I'm thinking of using the Super 16 for the grain structure only. The triangle aperture you describe on the Zeiss is noticeable on flares, or why do you say "ugly"?

My intention is not a POV of someone looking through a military or police device. Ideally it should be very scary and realistic, and a grainy or noisy feel would be OK, but not as if seen by a security camera. John Smith, could you explain a bit more about removing the IR cut filter from a CCD camera? Do all video and digital cameras have this filter? Have you done this, and what is the effect? Thanks for all the answers, I am already learning a lot...

I used Color Infrared stock on Alexander (at the end of the India battle scene), but it was not good for night shooting. It was sensitive to infrared light, but not to heat, and did not work in low light situations. It is designed for aereal photography (agricultural, military, and scientific applications). I am looking for something that will allow me to shoot with almost no light. Maybe I will just have to light the scene, but it is hard to meke "moonlight" look real in a big desert exterior.

I am planning to shoot part of a film in Super 16 for the grain. I am not very familiar with the lenses available, and would like to hear recommendations based on other Cinematographer's experience. I want sharpness and good contrast, to match 35mm Ultraprimes.

I am in pre-production for a film thar requires a night exterior scene in a desert with no light source. I am curious about Night Vision and Image-intensifier technologies. Does anyone have experience with this? Is it possible to use it on a film camera, or only on Digital?

I have experienced many headaches with telecine "interpretation" for daylies on features I have shot. It seems very difficult to have a true "one light" telecine. Has anyone used the PICSCAN FILM LEADER SYSTEM to deal with this issue? Good results? Can you still manipulate the image after "zero" setting has been determined (if you do need some correction, for example if you lost the 85 filter for exposure, but need to add it back in timing)? I am currently prepping a film and would appreciate any ideas to avoid needing more advil.