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Hello, I just got the results from a camera test and I'm a bit puzzled about the format test. The camera assistant shot a 1.66 reference but in the result the limits are way too close to the edge. As you can see in the image attached, the top limit is even outside the film frame! I've done this test before so I know how it should look like and I'm also sure the test was done properly. My question is if anyone has experienced something similar before or has any idea what might be causing this? The camera is an Arri SR3. Thanks!

Question : Shooting anamorphic in super16 mm film, Is there a way to exploit the black space between two frames the same way it is done with the in 35 mm with 2 perf for 2:39 and gain time on you 400ft roll I am shooting with hawk vlite16 1.3 anamorphic , probably sr1 but i am wondering if there is a camera model that can allow to expoit more surface on the negative (and so, having more time per roll than the usual 10 min/400ft) by having the frames close to each other. I'm thinking why wouldn't that be possible, 16 mm anamorphic withmore than 10 min per 400 ft mag ? (the small size of the 16mm film ? the small size of the mechanic that pull the movie down ? so 1 perf is all there is for super 16 ? does anyone have a movie in mind that was shot anamoprhic 16mm film ?) I know high frame rate cameras exists, with precise mechanics that allows to have that maybe ... i am looking for a professional regular model though ... Cheers, J

Hey, I noticed some interesting personalities coming from Benoît Debie cinematography practices. I was watching a movie directed by Wim Wenders called Every thing will be Fine. As an added side-note I want to mention the writer,Bjørn Olaf Johannessen, because its connected to the bigger image I noticed personally. The things Im interested in is 1: Benoît's light choice for an early morning scene in this movie? & his all around esthetic - lighting & framing specifically. And the other question was 2: The combination of influences on this projects development? First, the lights question: If you look at the stills I added theres a neon quality to Benoîts lighting in this scene. What I mean by that is the light glows and wraps around some items. The pictures I think show his representation of a really early/late night 2 morning transition lighting. There are 2 ext lights skimming off the exterior windows framing & filling some of the frames space. In the distance outside is the wide open field and the people are in the foreground. Anyone have any knowledge on what Benoît's like lighting choice was when he created that light. From what I noticed from Benoîts style is that he tends to make some of his lights glow. You think this was enchantment in edit or on location DP choices? If you watch & check out stills from http://www.imdb.com/title/tt1567609/?ref_=ttmi_tt http://www.imdb.com/title/tt2101441/?ref_=nm_knf_t1 https://www.youtube.com/watch?v=B3eAMGXFw1o The other part I wanted to see if anyone noticed was the quality the movie gives off? To me (generally speaking) its gives off part french color/saturation look w & audio style, German novel/script story development & Scandinavian spatial theories. I can expand. Just curious to see if anyone picked up on what Im seeing as the embodiment of various countries. Its neat I think. P.S The lights Im interested look to be the same color you'll see dotted around this movie as well as in Rihannas MV & the flashlights in The Maze Runner & other films.

Hi guys, could any one tell me the difference between Artificial Silk vs Silk with 12x12 frames in term of light. If there is any as I'm thinking to buy one but but the Silk is a bit more expensive. Thanks J

I acquired a 4' x 4' frame made of 1" square aluminum tubes and would like to mount it to a c-stand. I am aware of mounting methods involving clamps and gobo's, but how does a Flip Flop Ear (http://www.filmandvideolighting.com/1sqtuflfleam.html) interface with a stand for mounting?? Thanks in advance for your insight! Hugh ps - first post

I'm a student filmmaker and am on a set that like most student film sets has a very limited budget so I'm trying to help it streatch as far as we can get it to go. I sew a lot of costumes and such and have already started making things for the set like sandbags out of left over upolstery fabric I had hanging around. I've since started looking around for other fabric based items that I can make to help the group out so we can actually make the short we're working on. This leads me to my questions, I'm trying to figure out what fabrics would be acceptable for making flags, silks and scrims to use in the lighting/grip department. I know flags are typically made out of Duvetyne after reacherching a bunch, but I wanted to know what about the fabric makes it useful as a flag. Could I use a normal black fabric to coat a thicker fabric(I have a lot of colored thick fabrics and thin black fabrics that I could combine)? If that would work, how could I make it flame retardent? Is there a spray that I could buy once and use on all the fabric? What fabrics could I use for silks and nets? I know I'm probably asking a bunch of silly questions, but I'm really trying to help the most that I can. I also have some fabric that I know is film related, but I don't know what it is called or what its uses are or if I could make it into anything the grip and lighting department could use. I've included two (cellphone) pictures of fabric that I have that I know is grip related, but I have no clue what it is or its use. The first one is silver and incredibly reflective on one side and on the other side it is black. The second fabric is black on both sides. Both feel very stiff and almost like plastic. If anyone has other suggestions for things I can build and sew to help the team all advice is appreciated, I'd like to do more than just wardrobe and making some sandbags. Thank everyone in advance for reading the post and for any help offered!