<font color='black' size='3' face='Georgia, Times New Roman, Times, Serif'><font size="3">I've reason to believe that lenses as we think of them may cease </font><font size="3">to exist in the near future. <br>
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http://www.hollywoodreporter.com/behind-screen/nab-ang-lees-billy-lynn-884425<br>
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Long, long, long story, but in the same way that radio drama was killed by the television, there are capture/display mechanisms that give you sixteen million colors and 36k images at 200 frames per second. The 120 frame per second 4k images are almost too real, the 36k/200fps just looks like somebody built a set on the stage, and you feel like you are growing or shrinking when the displayed "on screen" size changes. The next stage in that is one where you enter the image as a ghost, able to move through it, but that one is 72k image at 240 frames per second, a mere 3tb per second to store. Actors are recorded, everything else is CGI, but it looks real.<br>
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Walking through a wall is a surreal experience. <br>
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The capture methods are changing, but the real problem is the lack of training for the people involved in the process. I had one person tell me that he talked to a dozen writers at the WGA library, writers with twenty years or more of making their living in the business, and that NONE of them knew as much about writing as he did. Every department is populated by people like that. Except, maybe, craft services. I fear that one day I will be delivered a cup of pink coffee. . . or bubbling yellow something with a cream and two packs of sweetener on the saucer. I can work around the rest of the newbie know it alls, but I need my coffee old school. <br>
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Walking through the image is one thing, tampering with coffee is another ball of wax.<br>
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<div style="font-family:helvetica,arial;font-size:10pt;color:black">-----Original Message-----<br>
From: Brandon Esten via Cinema <cinema@konvas.org><br>
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<div>Damn Colecam, you some kind of visual poet or something!</div>
<div id="AppleMailSignature">I need all your tricks for our next feature... Hurry up and finish writing that book.</div>
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<div id="AppleMailSignature">B</div>
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Sent from my iPhone</div>
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On Feb 12, 2017, at 16:46, colcam--- via Cinema <<a target="_blank" rel="noopener noreferrer" href="mailto:cinema@konvas.org">cinema@konvas.org</a>> wrote:<br>
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<div><font size="3" face="Georgia, Times New Roman, Times, Serif" color="black"><font size="3">When the woman in the sheer dress walks away from the camera at a shallow angle you can tell it is a horizontal compression midpoint/rear element. Notice that she keeps height but slims slightly, one of the reasons a breakup is always done flat side to side in sphericals but at 35-40 degrees and away when you use anamorphics. Somehow, for some reason, people think she looks better every step she takes away from the camera, which, of course, symbolizes the man she is walking away from. Shoot her doing it that way with sphericals and she looks shorter with each step. With a front anamorphic she remains less changed and looks more natural, slightly less horizontal shrink. <br>
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FYI. if you need to shoot the girl walking away shot like that with a spherical lens get the longest focal length you have, back the camera way, way, WAY up, and leave the focus locked, keeping her in focus with the forward dolly movement. The shallow DOF shows her movement and the audience feels it in their guts as things she passes come into focus and then drop out of focus as she moves.<br>
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Make me stop talking before I un-retire.<br>
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<font size="3">Please.</font><br>
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<div style="font-family:helvetica,arial;font-size:10pt;color:black">-----Original Message-----<br>
From: Brandon Esten via Cinema <<a target="_blank" rel="noopener noreferrer" href="mailto:cinema@konvas.org">cinema@konvas.org</a>><br>
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I saw somewhere they are spherical primes with a rear 2x vertical stretch which would be pointless; looking at the bokeh section of the presentation I can see that is not the case. Unless there's a waterman stop in there which would be beyond Colecam's in-depth wtf. Didnt catch a rack focus shot; do they breathe?<br>
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I still love my Lomos.<br>
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B<br>
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> On Feb 12, 2017, at 15:38, Speedbird--- via Cinema <<a target="_blank" rel="noopener noreferrer" href="mailto:cinema@konvas.org">cinema@konvas.org</a>> wrote:<br>
> <br>
> Not sure what you mean but Cooke will sell you a lens with a PL mount and Universal mount for DSLR. Or do you mean you need an adapter on your PL mount to use Cooke. Understand old anamorphics needed a shim to mount PL mount. May be best to check with Cooke, they will reply to questions.<br>
> <br>
> Rita<br>
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> Sent from my iPad<br>
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>> On 12 Feb 2017, at 16:14, Brandon Esten via Cinema <<a target="_blank" rel="noopener noreferrer" href="mailto:cinema@konvas.org">cinema@konvas.org</a>> wrote:<br>
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>> Ya know, I don't get these new Cooke anamorphic primes. They're rear-adapted aren't they?<br>
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>> <br>
>> Brando<br>
>> <br>
>> Sent from my iPhone<br>
>> <br>
>>> On Feb 12, 2017, at 07:59, Speedbird--- via Cinema <<a target="_blank" rel="noopener noreferrer" href="mailto:cinema@konvas.org">cinema@konvas.org</a>> wrote:<br>
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>>> Worth watching if you like Cooke glass.<br>
>>> <br>
>>> Rita <br>
>>> <br>
>>> <a target="_blank" rel="noopener noreferrer" href="https://m.youtube.com/watch?v=qmd5m4gB9yw&ebc=ANyPxKrOOOKUVBSQ1S-qhHf45MWFz8YTFyXyziAIHZ70zq4AMFvb8wetIMk9PVYnMoOkcHkaKGOSi6Pi2RMTa1ZDQXjACWTCtQ">https://m.youtube.com/watch?v=qmd5m4gB9yw&ebc=ANyPxKrOOOKUVBSQ1S-qhHf45MWFz8YTFyXyziAIHZ70zq4AMFvb8wetIMk9PVYnMoOkcHkaKGOSi6Pi2RMTa1ZDQXjACWTCtQ</a><br>
>>> <br>
>>> <br>
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