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What are your doubts? The remjet backing on color negative also acts as an anti-static backing, which is why b&w is more prone to static problems. I suspect it is also a more effective anti-halation backing because you still have halation artifacts in b&w, like those pretty rings around car...

The Polish Brothers are always happier if I can find visual references from art rather than movies, but of course I'm a movie buff so I'm also drawing on that in my mind. They told me that they wanted a static frame and a painterly look, in fact, their first reference was to Vermeer, so besides...

Thanks! We modeled the look around the paintings of Edward Hopper -- people in lonely spaces -- and some of the psychological use of color in Edvard Munch's work. Both did paintings of rooms with green walls for example. As an overall visual arc, we wanted the movie to move from cold colors...

I use 500 ASA outside, it's not that much lower than 800 ASA, just a 2/3-stop difference. Yes, it's a pain to use heavy ND with their color shifts. I use ND IR at that level (ND1.2, 1.5) but the color is often still a bit off and will have to be timed in post to match the shots done with...

One of the main reasons for shooting in Log is that if you look at "white" on an 11-step DSC chip chart (Zone 10 generally, 5-stops over middle grey I believe) and the Log format makes that white patch hit 70% like it does with PanaLog, for example, then you have a couple of stops over 70% that...

If you are shooting charts in frontal light, then yes, your meter at the same ASA + Shutter Speed should give you the correct exposure for the chart. However, in the real world, we don't shoot charts in front light, we shoot all sorts of things in all sorts of light. And I've often found...

The painting is all hard-lit -- the couple are lit from the left side, side-lit, the light coming over the right shoulder of the man so that he doesn't shadow her. There is a frontal fill that is high enough to throw a hat shadow on the man's face, topped with a flag so that the couple's shadow...

You may be better-off with a 6'x6' frame of Lt. Grid Cloth -- silk is fine for diffusing sunlight, but it still allows a bit of hard light to leak through so it's not the most efficient diffuser. If for some reason, you had enough stop after the light passes through the 6'x6' lt. grid cloth...

23.976 fps at 1/48th is still within the margin of safety - I mean, if you look at a 60Hz AC pulsing lamp on a waveform, at 23.976 fps you'll see a tiny bit of flicker but for the most part, it's really mild. Kino ballasts have a very high flicker rate, much higher than 60Hz, so flicker is...

If you shoot digitally at 23.976 fps, you still transfer to 35mm film at a 1:1 ratio, i.e. one frame of digital is recorded to one frame of film. So basically you are just projecting 23.976 fps footage slightly faster at 24 fps in the film print. If you shoot digitally at 23.976 fps, you...

It sounds like you did the right thing, yes, you are being conservative but so am I when it comes to underexposure -- as you said, you can always darken it further in post, it's worse when you are forced to brighten it in post. How "dark" moonlight should look depends on a lot of factors -- for...

How "low" is low enough is somewhat of a personal taste issue, no camera right now at 800 ASA is noiseLESS, but from what I've seen of the Alexa footage at 800 ASA, the noise is low. You need ND filters to shoot at the desired f-stop for the ASA rating, so if at 800 ASA, you need ND's to get...

You have more control over color contrast if you shoot color and turn it into b&w later, because it's like using color contrast filters with real b&w film, you can isolate the blue or red channel, etc. and darken it independently, etc. If you record b&w in the first place, you only have basic...

That all sounds like it's within a range that color negative film can handle.

You time the blue out by shifting the image towards orange-yellow, so that doesn't get rid of the color temp difference, it just makes your tungsten lights look more orange. The better daylight compact flos made for Lowell Rifa lights, etc. and whatnot only have a bit of green in them, not bad...

Yes, in 3200K, 5600K daylight looks blue, so anything lit by daylight will have a blue cast. Now often it's rather bright, so it's sort of a washed-out blue, but it's still blue. Color temp mismatch is color temp mismatch, either you use it creatively for an effect or you minimize the problem...

Yes, a blue sky is a good middle grey reference, though for a good silhouette shot, it helps to actually have the background slightly hot to create a good contrast for the black shapes to be framed against. And generally the sky isn't the main background outside of a window unless you are in a...

There were a few softboxes hung above the set, probably in the 4'x4' size range but maybe larger, like 6'x6'. Skirted off of the walls mostly. Some dim eyelights now & then, some soft edge light in a few shots as well, windows look papered over and backlit. Room lamps. Everything is on the...

If the light is coming from the side, sort of 3/4 frontal, then you can use a series of net flags to bring down the light as the actor gets closer to the camera and source. Otherwise, you may have to do an f-stop pull as the actor is getting closer to the light. To some degree, you don't have...

Technically, you can take spot meter readings and then decide how much to expose the flames compared to 18% grey. There is no right or wrong exposure - old movies like "Gone with the Wind" were shot on the equivalent of a 10 ASA film stock and fires exposed (at f/2.8 often for interiors) as a...