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Mark Dunn

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Mark Dunn last won the day on May 3

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About Mark Dunn

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    http://londonsteenbeck.eu5.org/

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  1. You can't possibly rely on a video image as a reference for film exposure- you have no idea how much gain is being applied to the signal for a start. You must learn how to use a meter properly. A DSLR may help a bit, but again the way it responds to light isn't quite the same as film.
  2. Do you mean running it as reversal? A neg from reversal would still look like a neg.
  3. Did the OP edit question A after I replied? I didn't think I'd misread it.
  4. The convergence of the three curves at Dmax is still wrong though. As Carl says they should diverge there.
  5. Edge fogging can impinge into the S16 frame where the N16 frame would be unaffected, as Aapo and I have explained. 400' rolls are on cores so obviously must be in total darkness, but 100' daylight spools may- may - be loaded in subdued light, the clue being in the name, because the flanges are very tight. As you say the Kodak advice is "total darkness" but this has changed. It used to be "subdued light", although I note from my 1980 Kodak field guide that the R-90 and R-190 are not actually referred to as "daylight spools". Of course fast colour stocks are a comparatively recent invention I would still be happy loading a daylight spool indoors, with my back to the light, or somewhere shady outdoors.
  6. None of your links works, and I don't know what imdb thinks it's playing at, but (43) is certainly not John Alcott.
  7. I was referring to something they said a few years ago about 35mm. screenings. 70mm is the exception, I think, because there are prints that Warners don't own. So as long as you can get the print, you just need an exhibition licence.
  8. These days it's probably more helpful to specify the gauge if you really want to make the distinction. Most laymen won't appreciate it (or will ask the question) whereas we in the trade will know and, hopefully, appreciate it. I get a newsletter from the film club in Köln which specifies 35mm. or digital screening. That's as good as it gets. The National Film Theatre usually specifies as well, but the Prince Charles in Leicester Square says that it can't specify some screenings in advance as the distributors won't tell them what they're getting. 2001 is a glaring example.
  9. If it has a double sprocket it won't run 1R. There are no holes for the second sprocket to engage. 500T is still available in 2R but only in 400' on a core. You would have to wind it down onto daylight spools.
  10. Spring clips like that can be a bit short-lived, but they seem easy to replace. If I were concerned about keeping my C-stands new and shiny I might put some electrical tape on the jaws of the clips.
  11. I'd say an unmotivated dolly move like that is voyeuristic. It suggests the audience knows more than the protagonists- or is about to find out more. Kubrick uses it in Paths of Glory. The camera follows Dax and Mireau up a staircase, they stop, and the camera move continues for just an instant before stopping, as if it's an eavesdropper caught by surprise. Kubrick's a master of camera movement. OP should study him, then ask questions.
  12. It will have half a gnat's crotchet of exposure latitude for a start (translation: not very much, half a stop if that). Reversal was always slightly hard work. The E6 process is very expensive in chemicals too. We lost the economical VNF process years ago- it was environmentally a bit nasty and Kodak didn't care to reformulate for a stock no-one was using in any volume anymore. High-speed analysis was probably the last holdout of professional colour reversal- that would be me at the weapons range among others. We used it by the mile and had our own VNF (and ECN) processors so the material could stay under wraps. When VNF vanished (after my time) the ranges went to neg out of desperation in the few years before high-speed video caught up. I still have a bit of interesting stuff to run on the Steenbeck- unclassified, of course.😉
  13. Very nearly, only $316/400'. Less running time, lots more real estate. Now 35mm Ektachrome, projected, that would be something. You could splice up stills camera 135 bulk rolls à la Rosselini. Or just run short takes.
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