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Showing results for tags '35mm'.
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Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider. First off, a solid amount of the video is shot in a city (Richmond, VA) at night, with only available light, meaning I was basically consistently rating the film at around 2000 ASA, sometimes higher. So grain will definitely be an issue, and on top of that, I plan on pushing a few of the rolls 1 stop. From my previous experience with 2k scans, it seems as if the higher resolution relative to HD makes grain seem even more apparent in scans than it does in telecine, so would the combination of the thin negative, the push, and the 2k scan make the grain way too intense? I understand that "way too intense" is a vague quantifier, so I guess to put it a bit better, would I be better off in terms of keeping the grain at a manageable level (given the negative that I'll be working with) with an HD telecine or a 2k scan? And I guess in a more general sense, what would be the advantages (or disadvantages) of going with 2k in this situation? Also, this may be a stupid question, but just to clarify my understanding, it's definitely possible to maintain the 1:33 aspect ratio with an HD telecine, right? Any time I've previously had HD telecine of 35mm it's been automatically cropped by the lab to conform to a 1920x1080 frame. But theoretically wouldn't it be possible to maintain the full 4-perf frame with no cropping if I specifically instructed the lab and just have bars on the left and right of the frame? The film was framed for and always intended to be presented in that format. Any help is greatly appreciated! Thanks, Dylan
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Hi everybody. Urgent question. I'm in the process to get Sponsorship for our documentary, we'll shoot with a BlackMagic Pocket Cam. We have 2 options for the Zoom Lenses we'll going to use: 1. Arri-Zeiss Zoom 11-110 S16mm PL Mount 2. Zeiss Compact Zoom CZ.2 28-80 T2.9 We're aware that both are great lenses. The S35 Compact Zoom would demand a Metabones Adapter, but that's no problem at all. I wonder which would you guys pick and WHY? Of course the S35 one is new, and that might be a benefit. Thoughts? Thanks, F
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Hey everyone, I will be shooting my first show on 35mm film this coming April and I really want to put Kodak 5219 to the test in terms of grain control and contrast. Please bear with me for I've only shot 7222 and 7266. Can anyone tell me the effects that these variables create together in terms of grain, contrast, and saturation? Perhaps how this affects the characteristic curve? 1. Over-exposing and pulling 2. Over-exposing and printing down 3. Under-exposing and pushing 4. Under-exposing and printing up 5. Over-exposing, pulling, and bleach-bypassing My goal is to differentiate between different timelines of the film. Flashbacks are as the director said "dream-like" and he immediately liked my recommendation of having low grain, glooming highlights, and high saturation. Can this be achieved with #5 on the list? I am very open to using glimmer glass or nets on the rear element. I've heard that when skipping the bleach, it is recommended to change a 7:1 ratio to a 3:1 ratio due to the contrast that it brings. This is for my thesis film at my school and I think it is the perfect opportunity to experiment on film! I do not want to be experimenting on set, but I do want to do a camera test at the prep. As always, thank you for taking the time to respond. -Jeremy
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Hello all, This is my first post to the forum and I'm glad to be here. I am an undergrad cinematography major and I will be shooting my first show on 35mm. Naturally, a gear head will be best for our studio work, but I have only worked as an assistant with the equipment. A few operators and DoPs have told me that tracing a circle on the wall with a laser pointer is a good way to start out. Does anyone have any recommendations on how I can practice? I'll have just the prep day and the test shoot day to figure out the muscle memory. (Unless I should just settle with a fluid head?) Thanks for your time in advance, -Jeremy
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Hey guys, I'm trying to find my Arri BL 2 a new home and thought some of you may be interested. This camera is very dependable and in great working condition. It has been maintained regularly and we have never had anything but great results with it. If interested, go to to see two (very) short clips from when it was being rented out last month. The package includes: - Arri BL 2 Camera Body -3x 400' Magazines -A 1000' Magazine -Eyepiece Extension -Video Tap -2x Filter Holders -2x Lens Blimp -Sunshade -Vari-speed Variable speed Controller -Handgrip -Battery Pack -Charger -Required Cabling -Individual cases for camera body and magazines Please feel free to contact me with any questions. This camera is a true workhorse and will not disappoint. Check out the ebay listing for photos (my upload-fu is very bad)... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=291061805997 Thanks for looking and have an awesome day! Edit for: Embed-fu also bad.
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As I understand it, most big-budget feature movies record on film as opposed to digital; the common claim being that film provides a much more cinematic image, etc. Does anyone think that we'll come to a point when digital cameras are able to produce an image, indistinguishable from film - and that cinematographers will choose digital over film due to artistic choices instead of being led by financial considerations?
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Hi, I'm a film student based in London. As part of a project, we've been asked to shoot a 5 minute movie using traditional methods (i.e. film - no digital). I've never shot anything using film before so this should be quite an experience; if not a little daunting. I'd like to try to emulate the style and quality of films from the 1960s. This is what I have in mind: Does anyone know which cameras and stock were likely used in this filming? I'm sure finding a camera from that era shouldn't be too difficult, but I have no idea where to find the stock. Are there sellers of old Kodachrome stock? Many Thanks, Ed
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Hello everyone, I thought I'd post this here and see if others with more experience could give me their input on this. I've found an Arri 435 ES (4-perf) camera package for sale that I'm extremely interested in purchasing. Film is something I've sorely wanted to learn for years now and I think this could be a great opportunity. The package is going for $6000 and includes the following: 1 Low Bridge 1 8" balance plate rods 6 400' magazines 1 Ground glass 535 AlB 1V square 1 Mask Arri glow 535/435 1V 1 2:35 ground glass 1 2:35 Arri glow mask 1 1:85/1:37 ground glass 1 1:85/1:37 Arri glow mask 1 1:85 1V ground glass 1 1:86 Arri glow ground glass 1 Heated eyecup: 435 2 step 1 Finder support 535/435/16SR-3 1 Operating handgrip 1 Arriglow module: 435 1 Worklight 1 Remote control, Universal: RCU 1 Shoulder set S-4 435 1 Cushion F/435 w/steadicam 1 Follow focus mech only w/right focus knob, right focus knob ext, prime &zoom gears, short ff ext 1 13.5 fiex shaft w/knob 1 38" fiex shaft w/knob 1 Bridgeplate w/15mm rods 1 6.6 MB-14 matte box set 1 CCD optic module 1 lntergrated video module 4 1 24v plug on module 1 65' extension cable for RCU 1 Finder extender 1 Focus crank 1 Mask set, 18-180mm lenses 1 Flex shaft: grad filters 1 Reflex prevention ring for 10mm Zeiss w/158mm diameter 1 138mm filter ring w/rubber sleeve for Angenieux 25-250 HP w/125mm diameter 1 Studio follow focus FF-3 w/15mm bridge plate 35mm format 2 435 power cables 1 Heater eyepiece cable 1 25' RCU-1 cable-spare 1 Case-camera 1 case-follow focus 1 case-6.6 MB 3 Case-magazines It comes with everything I would absolutely need minus a lens and some filters. To me it seems like a steal, but I'd like to get 3rd party input. It is worth it going for a 4perf camera? Thanks, Chris
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Hello everyone, I thought I'd post this here and see if others with more experience could give me their input on this. I've found an Arri 435 ES (4-perf) camera package for sale that I'm extremely interested in purchasing. Film is something I've sorely wanted to learn for years now and I think this could be a great opportunity. The package is going for $6000 and includes the following: 1 Low Bridge 1 8" balance plate rods 6 400' magazines 1 Ground glass 535 AlB 1V square 1 Mask Arri glow 535/435 1V 1 2:35 ground glass 1 2:35 Arri glow mask 1 1:85/1:37 ground glass 1 1:85/1:37 Arri glow mask 1 1:85 1V ground glass 1 1:86 Arri glow ground glass 1 Heated eyecup: 435 2 step 1 Finder support 535/435/16SR-3 1 Operating handgrip 1 Arriglow module: 435 1 Worklight 1 Remote control, Universal: RCU 1 Shoulder set S-4 435 1 Cushion F/435 w/steadicam 1 Follow focus mech only w/right focus knob, right focus knob ext, prime &zoom gears, short ff ext 1 13.5 fiex shaft w/knob 1 38" fiex shaft w/knob 1 Bridgeplate w/15mm rods 1 6.6 MB-14 matte box set 1 CCD optic module 1 lntergrated video module 4 1 24v plug on module 1 65' extension cable for RCU 1 Finder extender 1 Focus crank 1 Mask set, 18-180mm lenses 1 Flex shaft: grad filters 1 Reflex prevention ring for 10mm Zeiss w/158mm diameter 1 138mm filter ring w/rubber sleeve for Angenieux 25-250 HP w/125mm diameter 1 Studio follow focus FF-3 w/15mm bridge plate 35mm format 2 435 power cables 1 Heater eyepiece cable 1 25' RCU-1 cable-spare
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Hello, I am selling NEW rolls of 16 & 35 mm FUJIFILM that we received early April for a shooting that took place this summer. Since we bought them with a significative discount, we did not have a return option. The following are available for purchase: 17 rolls of 16 mm ETERNA VIVID 160 are available at a unit price of 65 € + Shipping 11 rolls of 35 mm ETERNA VIVID 250D are available at a unit price of 110 € + Shipping These rolls have been stored in a cold and dry place. They can be picked up in Brussels or shipped at your location. A more detailed listing including pictures for these film rolls can be found on Ebay: http://www.befr.ebay.be/itm/NEW-FUJIFILM-35mm-ETERNA-VIVID-250D-122m-400-feet-ARRI-AATON-KODAK-/111182279217?pt=FR_JG_Photo_Camescopes_Cameras&hash=item19e2faf231 http://www.befr.ebay.be/itm/NEW-FUJIFILM-16mm-ETERNA-VIVID-160-122m-400-feet-ARRI-AATON-KODAK-/111182279220?pt=FR_JG_Photo_Camescopes_Cameras&hash=item19e2faf234&_uhb=1 If have any questions, don't hesitate to ask. Rolls can be bought online though Ebay or directly by contacting me. :) Jonathan -
Hello everybody. I am selling 9h and 11min of 35mm Fujifilm due to a feature film project to shoot in Italy that has been canceled. I have: 115 rolls (400ft - 4 perf) ETERNA VIVID 250D and 9 rolls (400ft - 4 perf) ETERNA 250D All rolls have been bought March 2013. Anyone interested can write me at: wiggle@hotmail.it Can send more details of pictures in the case. Paolo
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Hello everyone, I am new to the forum and was hoping that someone on here would be able to assist me in my quest to apply for Panavision's College Internship Program. I have tried contacting Stephanie Lyons at their Hollywood location, however, my attempts have be fruitless. I am currently a Senior at the University of California Irvine and want to learn about their cameras, as well as 35mm film cameras as a whole, preferably from the grunt-work up. I would like to have an old fashioned mentorship-styled environment where a master of the craft can show me the ropes cleaning and lugging around different pieces of equipment, however, I'm not sure how realistic my hopes are. If you have any information about the program or know anyone who does, I will be eternally grateful. -
Hello! This is my first post here on the forum and I would like to begin it by thanking everyone who posts on here; this forum has been a huge source of information for me, basically like the film school I couldn't afford, so yeah thanks everyone. I just recently acquired an Arri 2c, one that was advertised by the seller as a high speed model. It has the tachometer that reads up to 80fps, but from doing research on this forum and others, I understand that it is possible to attach that tach to a non high speed model. I've read that the only fool-proof way of determining if the camera is an actual high speed model is by the presence of four extra screws on the film gate that can adjust the pressure of the gate. But having been unable to find another picture of an Arri 2c gate to compare mine too, I'm unsure if the screws on my gate are the high speed ones or just the standard. Here's a pic of the gate on my 2c: Is this the high speed gate? And if so, is the combination of the gate and the 80fps tach enough to pretty much guarantee this is definitely a high speed model and is safe to run at 80fps? Just want to be sure, as I have a high speed motor on the way and would like to be sure of what I'm dealing with. Speaking of the high speed motor, I've read that it needs 32v to run at 80fps. At the risk of sounding silly, how exactly do I acquire 32v of power? I can't seem to find any 32v batteries that can connect to the high speed motor. (The cable for my motor has a 4 pin XLR). Is it a case where I would need to have a battery specially fashioned? Anyone who has any experience running a 2c at high frame rates, your help would be greatly appreciated! Thanks!
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Sept 15, 2013 I want to shoot my first feature next year. The script is dated thus taking place in the late 50's early 60's. (I will not be the camera person because I rather get an experience cinematoghrapher.) Question: In your opinion, which camera / format would fair best for shooting 50's 60's scenes & night time scenes? Also, which lenses would you recommend? * * Thank you all for sharing your expertise & for your replys * * Tony doowopkid56@yahoo.com
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I have a couple of Arri magazines for sale on eBay. Displacement mags for ARRI 35mm IIC type camera ~ fits most ARRI MOS cameras. They are in excellent working condition ~ never had any problems with jams or scratches. See auction here http://www.ebay.com/itm/231026612284?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Have one more to sell when this auction ends.
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I am the DP in pre-production for a feature being shot in Israel on black and white Infra Red film. I am searching for a lab that would be willing to switch out their standard D96 chemicals for a more fine grain developer. Anyone out there with recommendations of a lab? The only lab I have found willing to comply is Arri Munich, however they are only willing to use d76 and i would like to use a more fine grain developer like Xtol or something of the sort. In addition I am curious if there are any labs that are willing to use chemicals other then Kodak? Please feel free to contact me directly adiva@thenthis.org. -
I am the DP, in pre-production for a 35mm motion picture film being shot on black and white infra red film in Israel. I am trying to find a solution for a video assist to accompany our ARRI 435. We are shooting in almost complete darkness, only with infra red light sources. I am looking for contacts or leads to individuals who may knows how to build a video assist that corresponds with the parameters of the IR stock that we are working with. If anyone has any suggestions or knows of any camera tech wizards I would be thrilled to speak with them. Please contact me directly at adiva@thenthis.org.
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I've just finished documenting the complete strip down of a Bell & Howell 35mm Eyemo: http://cinetinker.blogspot.com.au/ Very similar mechanically to a 16mm 70 series Filmo. These cameras have an uncased spring, so they can be very dangerous to dismantle. Personally I wouldn't recommend inexperienced people doing anything more than removing the front. But I figure if people are going to try it they're better off having some idea of what's inside.
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Kodak Appoints Christian Richter to Film Lab and Studio Relationship Manager ROCHESTER, NY (May 14, 2013) – As part of Kodak’s ongoing efforts to support the motion picture film infrastructure, the company has appointed Christian Richter to the newly created role of film lab and studio relationship manager, effective immediately. Richter will be responsible for developing and managing strategies to optimize the workflow between studios, filmmakers, laboratories and post-production facilities. He will report to Andrew Evenski, Kodak’s president and general manager of the company’s Entertainment Imaging division. “There is a growing concern that the changes occurring in the industry will be detrimental to the motion picture film infrastructure, and we want to alleviate that concern,” says Evenski. “There is a thriving, global lab network and many filmmakers are choosing film. Christian has more than 15 years of extensive, international experience to contribute to this new role. He will liaise with our customers and promote the options for shooting anywhere in the world, utilizing the high-quality film system in place to support those productions.” Since joining Kodak in 1997, Richter has worked solely in the Entertainment Imaging division, fulfilling roles on an international scale. His responsibilities have ranged from managing the business unit’s initiatives for students, film schools and emerging filmmakers in Germany, to general management of Kodak’s Cinelabs in Dubai and Bulgaria. After developing broad international sales experience over several years, he became an integral part of Kodak’s product development and innovation advocacy teams, working with R&D scientists to drive product quality and growth. His business acumen includes a skill set for overseeing people, projects, products and industry partnerships. Richter is currently the business manager for Europe, the Middle East and Africa, a title he’ll maintain as he embarks on his new responsibilities. Previously, he was the Business Development Manager for Western Europe. “I want to make it as easy as possible for filmmakers to shoot on film, regardless of where they are shooting around the globe,” says Richter. “Filmmakers do not have to shy away from using film because of uncertainties around the availability of laboratory services. That infrastructure is in place. At the same time it will be exciting to work with the lab community, ensuring their services are well promoted within the industry.” # About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). -
I purchased this Arri 3C in the Otto Nemenz auction middle of last year. I did a registration test with good results but have not had a chance to use the camera for anything else due to personal reasons. Includes: - Arri 3C Camera body with PL mount port cap, body (magazine) port cap, accessory mounting bracket, Super 2.35 ground glass (could be Super 2.40, not sure) in shipping case. - Cinematography Electronics Crystal Motor Base (could also be used with an Arri 2C) - Arriflex 3C Crystal Handgrip Motor with screws and gear in plastic cup. - 6x 400' Arri 3 mags in 2x 3-hole mag cases - Jurgen's Orientable Video Door for 3C with Sony Color CCD camera. - Wide Angle Eyepiece (no rubber eyecup is included) - Arri grease - Arri Hand Held Door for 3C PICTURED BUT NOT INCLUDED: Extension Eyepiece. NOT INCLUDED: Rubber Eyecup, Power cables for camera motors to battery, power or video cables for Sony Color CCD, Balance Plate Top, Dovetail, Rods, Batteries, Lenses, etc. If you're not familiar with the 3C, you could think of it as the final refinement of the 2C before the Arri 35-3 came out. It has a more sturdy hinged door, unlike the metal prongs which held on the 2C door to the body. That design was never intended for the weight of a Jurgen's door and I've seen a few 2C bodies that are wearing out where these prongs grip. The 3C came from the factory with a PL mount, and it has a very nice crystal handgrip motor which is often sought after since it works just as well on the 2C. Something else I like about the 3C, they have a variable shutter, something that's hard to find on a 2C. The 3C also has a rosette for mounting accessories, right by the inching knob. The 2C doesn't have that. The 3C movement is the same as the 2C movement and motors, mags and of course ground glasses are interchangeable. The 3C is perhaps best know as the camera Arri made for the film "Das Boot" in the early 1980's. This means this camera isn't nearly as old as most 2Cs floating around out there. I know of four doors made for the 3C, although this package only includes two: Arri Orientable Door (which I've seen can be modified into a video split door) Arri Hand Held Door (included) Arri Straight Door (with optional anamorphic desqueeze module) Jurgen's Video Door (included) I should note, the door type is hinged, but it is not interchangeable with the Arri 3 door. The 3C doors are more rare, as not many of these cameras were made. Also, please see the picture with the note about compatibility with certain lenses due to the PL mount being centered for S35 (as opposed to Academy). Available for only $2,000 O.B.O!!! Available to see in West Hollywood through this Saturday. After that, get in touch and I can coordinate a time when you can check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. More pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633346930378/ Please send me a private message if interested. Thanks for looking! Rich
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Hi there, I am currently creating a research project for my final piece at university on the evolution of the cinema camera and how cinematographers deal with the ever changing technology. In particular the transition from 35mm celluloid to digital. I am looking for people who have worked with film stock and digital and wish to answer a set of questions I have prepared. The questions below have been sent out to various D.O.P's and also camera companies such as Arri, RED and Panasonic. During your time in the film industry, what do you believe to be the main changes in the technology used, especially in regards to the shift from celluloid to digital? What do you think the benefits are of digital cameras? Do you feel celluloid is dead? If so, do you feel moving away from celluloid is a good idea? If not, then why do you think this? What do you prefer yourself, celluloid or digital? Please explain your as detailed as possible. When you started out in the industry what camera were you using? How does this compare to what you are using now? Do you feel the digital age of cameras has opened the door to younger filmmakers due to the technology being cheaper? On top of asking D.O.P's themselves, I also want to open these questions up to various forums and find out what the community thinks in regards to celluloid vs digital. If any of you would like to answer the questions above (you dont need to answer all of them if you dont want to) then that would be brilliant and I would be very grateful. Also, if any of you have any other points that you wish to make in regards to the evolution of the cinema camera then please feel free to comment. Thank you for your time. Alun.
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Hello everyone, So, since last week i can call myself a proud owner of a Moviecam Compact mkII :) Yeehh. I always had an affinity for Film but was never able to use Film for obvious reasons: $$$$ Today i took the time to do a serious research. - where can i buy film? - where can i develop it? - who offers the best scan service? Well, most of you already heard the news: Fujifilm stoped producing Filmstock in January 2013. No new Filmstock is avaiable anymore. Let's talk Kodak. Today i had a nice conversation on the phone with a representative from Kodak. Subject of course was me fear that Kodak alsowill stop production of Filmstock. No, they won't. The Lady told me, Kodak will continue the production of 8mm, super8mm, 16mm and 35mm Filmstock for the next 10 years "GUARANTEED"!! That is good news. But what does it cost to buy Film? Well i can tell you roughly as i have european prices here. A 400' Foot Roll of Kodak Vision 3 , 500T cost me around 285 US$ BUT the minimum order is 600$ so i will buy 3 Rolls ( 3x 4.46 minutes of film) Then i called Arri headquarter for developing and scanning my 3 Filmrolls. Straight forward, Scanning my 3 films in 2K is out of Question. But they gave my some sweet deal, tough. per 400' they ask 175 US$ for the development and preparing to scan. So we're talking about 525.00 US$ for 3 rolls of 400' Film. Thats not to bad, isn't it? Well, i still need a scan, so they offered me a "student price" for a full HD scan (1920 x 1080) Per Film Minute (not labor minute) they ask aroun 11.20$ which would be 168.00 US$ for my 3 Rolls of 35mm Film. Let's be realistic. Cut 1/3, because you will waste film. Especially if you are a beginner like i am. I have Calculated that 3 Rolls of 35mm Film (400 foot) will give me 10 Minutes of "Movie" and it will cost me roughly 1500.00 US$ (purchase film, developing and scanning) That ain't to bad?! Honestly i expected twice the price. of course this is a very rough calculation. Let's say +/- 100$ Lets assume we're going to shoot a Music Video. At least here in Switzerland you pay for an Arri Alexy 1400.00 US$ rental per day! Same Company is asking 400 US$ rental for a Moviecam Superamerica. Your shooting takes 2 days.... I wish i could bring that argument everytime when i read the comments in forums when they talk about price and claim that shoting on Video is cheaper. And btw, im sure David can confirm that, a 2k or 4k video post production will cost most likely 3times what a film post production costs. (depends on the production company of course) My conclusion: Film is not necessarily more expensive that Video. Maybe equal. At the end you have to ask yourself: Do i want Film or do i want Video. i'd rather Film because of the rich dynamic which can not be done with Video. Respectfully Randy -
Hi all, So I'm running into a little problem, and am a little confused. Basically, I'm having trouble choosing between a FF 35mm DSLR (Canon 6D) versus APS-C DSLRs (Canon Rebels, Canon 7D). I'm very inclined into choosing the Full Frame format because of the of the 35mm mount lenses and the distortion factor problems with cropped sensors. But I'm still not sure, because, as I'm trying to match the film look, the S35mm format rings in my head and I get confused. What would be closer to what I want? Keeping the APS-C sensors size? or upgrading to FF? Please excuse if my question seems ignorant to you, I'm only 17 and still in my first years as a student. Thanks for your feedback, - Jules.
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Hey Im doing lighting test , for a project on infrared film, 35mm, indoor shooting. we're trying a verity of light sources in order to get the right and effective light for this kind of project. I know that mostly infrared used on outdoor shooting, under the open sky, but here, we also want to shoot some indoor night scenes on this reel. just some few facts about this material: the light spectrum we are trying to get is between 720-820 nm (nanometer), which also being called "invisible light", since this wave spectrum aint visible to the seeing eye. thats why we use gel filters on all of our main light sources. till now we used 5K's, Par 64's, 1K's, some lightpad panels, but(!), what im trying to find, is a light source which will speak the same language of the ifrared wave spectrum, and not just some regular cinema classic lights. 1. does anyone here knows, heard, or experienced this kind of situation? 2. can i work with infrared light with diffusions? like we regulary do on set? 3. what is the effect of bounce through white poly board with infrared light? can we bounce regulary like we used too? thnx ^_^
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Hi. You're making a movie with a 60D (1080p FULL HD at 24p) and you want to blowup it to 35mm. What resolution would you use in FinalCut? Full HD (leaving all the hard and expensive work to the LAB)? 2k (resizing the 1080p FULL HD material to 2k size)? OR 4K (resizing the 1080p FULL HD material to 4k size)? Any additional tip will be much appreciated! MR
