Behind The Scenes: How They Restored The Original 35mm Negative Of Jaws And Updated It Into The Digital Age

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Here’s a really in depth behind the scenes look at an aspect of photography and cinematography that we rarely get to experience. As part of their 100th anniversary, Universal Studios gave the iconic 70′s film (that’s given sharks everywhere a bad rap) a breath of fresh air. The mini documentary is pretty interesting as it walks you through the entire remastering process from start to finish.

The original reel, which was shot on 35mm film, had suffered some damage throughout the years and would need to be repaired. They used a wet transfer film gate to repair the scratches, which essentially scanned the original negatives while they were wet. It’s actually a really neat process and you can see more of it in the 8:30 minute mini-doc below. You’ll also be treated to a peak at the digital editing process, along with some before and after shots which are pretty astounding.

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3 ways Of Using 35mm Film in 120 Bodies

35-120-usage-06with the slow decay of film it is getting harder and harder to find film to use on old (or new) cameras that use 120 film. Even you do find 120 film (hint Amazon, eBay) it is not trivial to develop (not to mention expensive). But what if you have a Diana or a treasured Mamiya that you want to use? You can still use them with 35mm film if you can manage to load the film into the spool in a way that you can wind it after each shot.

The photos you take will not be restricted to the 35mm frame that you are accustomed to, but go all over the sprockets. It’s a pretty cool effect if you ask me.

Here are three ways with ranging budgets, innovation levels and description to use 35mm film on 120 cameras: [Read more...]

We Built Our Own World: Wally Pfister and the Cinematography of Inception

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In 2010, Christopher Nolan released a film he’d been working on for over half a decade, and the premise of it was something not too long ago thought un-filmable. Titled Inception, the story was held off as a complete secret, and when teaser trailers did release, nobody really understood what they just saw. Wally Pfister, the cinematographer behind the movie, arranged an immediate meeting with Chris after reading the script he was sent, to try and figure out “what the f*ck was going on.”

Wally Pfister has been a collaborator with Christopher Nolan for a long time now, working as a cinematographer for every film of his since 2000′s Memento. Both him and Chris share two significant things in common: their love for naturalism, and their love for shooting in film. And if there’s anyone keeping the medium of film alive in the digitally dominated industry of Hollywood today, it’s these two guys. Their last venture together with The Dark Knight Rises grossed over $1 Billion, and that was accomplished without the film ever being released in 3D; when I say they love naturalism, I mean they love naturalism.

By now, most of us are familiar with the film; it became one of the biggest original stories to top box offices worldwide within the past few years, and it was something new. And with how practical both Chris and Wally are with the way they want things shot, Inception was cinematography at its finest.

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Panasonic Unveils the New VariCam 35 with 4K & 120 fps Capabilities

Thanks to Planet 5D for the heads up on this!

Disclaimer: if you have a weak wallet, then don’t read this.

Actually, in this case, all of our wallets are most likely crying in the corner, so it’s okay. Just appreciate the camera, I guess.

Panasonic took part in a press conference just yesterday in New Jersey, where it announced a new entry targeted towards the high-high-high end market of cinema. The 4K camera/video-recorder is titled the VariCam 35 (AU-VREC1), and it claims to be a powerhouse in handling a variety of formats.

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