CML - Cinematography Information & Discussion
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16mm Black & White Thru TK

16mm DI To 35mm

16mmGreenScreen

1K, 2K, 4K, 10,000K

24 Frame Project Problem In Avid
2K transfer on a Spirit

2k 4:4:4 Spec Check
3D Moving Stills

30fps Compositing
4*3 or 16*9 for TV


AatonCode Instructions

Anamorphic Lens For Projection

AJA DSI To Firewire Box


Bleach Bypass/ENR

Blue Fog Waves
Blue/Green Screen
Blue/Green Test Shots

 

Charging For Post Supervision
Colour Timing a 16mm film
Combining Film & F900
Compositing 101

Contact vs Optical Intermediates

Continuing With Preset Timecode
Cross processing
Cross Processing Neg.

 

Damaged 16mm Film

Day For Night & The Digital Intermediate

Defining 2K and 4K

Defining 6K Film Stocks
Digital Post V Cine Art/Craft
Digital Film Grade

Digital Image Stabilization

Digital Intermediates

DIT or Colourist

DoP Relationship To Film & Digital Intermediate

Downconverting

Downconverting Delay *(Miranda DVC- 800)

 

EDP100 or Decklink Multibridge Express

ENR Transfer

 

FCP Field Issues

Feature Film Process
Film TimeCode

Flashing

 

Ghetto Style Film Transfer

Grading & Stock Choice

 

Hard vs Soft Matte For Answer Print

HDCAM-SR For DI
HDCam V D6 Voodoo

HD Post Costs
HD to 35mm

HD-To-SD Better Than SD

 

IMAX 15perf_70mm Tech Specs


Kodak TEC System

Kodachrome Look

 

Latent Image
Latensification

Live Action/CG Mix


Neg restoration

 

One Light Edit - Back To Neg For CC

 

Philips Quadra Telecine

Photoshop Help

Post Production & Time Code

Progressive Imaging

Progressive_&_Interlaced Scanning
Proofing a film

 

Reference Monitor Issue
Replacing TV Screens

RGB Numbers On Short End Recans

 

S16 To Video Workflow

Scanning At 2K
Scanning for Stills

Shooting 35mm _ Super 35mm For_1:1.85

Shooting Colour For B&W Finish

Step Printing - Examples & Information

Super16 D.I
Super 16 to 35

Super16 To 35mm Optical Blowup vs Super16 To HD To 35mm


Telecine (Personal Views)
Telecine (type overview)

Telecine On Music Videos
Telecine direct to disk
The way Forward

Things U Can't Fix In Post
Timing a First Feature

To Push Or Not To Push


Unsaturated look for projection

Uprez 720

Up-rez To 35mm

Using Kodak Look Manager System


Video Dailies
Video for the Web

 

When Is It The Labs Fault???

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Sponsorship of CML

CML is maintained mainly by sponsorship, this sponsorship enables us to continue to grow and provide a continually expanding information service to all those involved in cinematography.

JPB of Aaton came up with the original suggestion of basing sponsorship on $1 per member per year. We have now outgrown this as we are too big now to justify this level of support and it's been fixed at $2,400 per year for the last 5 years.

For this a sponsor gets a logo on the web-site header which appears on all 3,000+ pages and a tag on every message posted via CML.

We sent out 33.4 million email messages in the last 12 months. They also get access to private mailing lists that we can set up for their specific requirements.

Our current sponsors are listed below please mail me if you want more info.

Panavision
Aaton
Lighttools
Fuji Film
Thomson GrassValley
Cooke Optics
Panansonic
BandPro
Tiffen
SchneiderOptics
Filmtools
CineTal
DSC
Arri
V3
Element Technica
Kodak

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