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Generally you use the f-stop and ND filters, if necessary, to control exposure, not the shutter except in extreme cases. You adjust the shutter for motion effects or to sync with the hertz cycle of certain pulsing sources. Most people shoot 24P in the range of 1/48 to 1/60 to match the look of...

I'm the wrong person to ask, not having tried any of those cameras. Right now, I'd consider the Sony EX1 over the HVX200, but otherwise, I don't have an opinion on those cameras listed.

It actually means how dense the film is -- in b&w terms, how much black silver is on the piece of film, which affects how much light has to push through it. In color terms, it would the density of the resulting color coupler dye clouds remaining after the silver is removed. Essentially with...

Two stops under for a heavily backlit face is usually fine if you want that look. It sort of depends on how hot the backlight is because you want some dynamic range and contrast -- if the backlight isn't really hot, then an underexposed face may feel like the shot is underexposed in general...

Depends on the sky, type of sunset, weather conditions at magic hour, colors you want, etc. If the camera is looking at an orange sky near where the sunset, then the face would be filled by blue-ish skylight, not warm light. If the person is facing the orange glow, then the sky behind them...

Unpaid internship positions usually require that the intern be under the liability of school insurance, so they are working for school credit. There is also a position called Camera PA, which I'm not sure whether that falls under the camera department or the production department (i.e. it's a...

You sort of have to think of changing the processing time as something separate than how you expose, though related. By how you expose, you can alter the density of the final developed negative... but by how you develop the negative, you can also alter the final density. Most people push by...

What lens mount does it have?

I'd probably get the Sony EX XDCAM over the HVX200. The EX has 1/2" sensors instead of 1/3", seems to have more professional features and probably less noise, better sharpness (it's newer technology after all). But that's an opinion just based on rumor and heresay; I haven't done my own tests.

Of course it's your job to offer suggestions to a director, especially if asked for one. You're the expert in cinematography after all. You base lens selection on so many factors. Personal taste is one -- maybe you or the director has a leaning towards long or short focal lengths for personal...

It's a collaboration between the DP and director, though the director has the final choice, so all I can do is make suggestions and discuss the camera angle, let the director say yes or no. But we discuss it, maybe look through a lens and agree on something.

If your viewfinder also shows a yellow tint, probably the lens is old and the optics / coatings have shifted to yellow. Should be simple to color-correct a yellow cast out though. Or use a pale blue filter on the lens. Or get a newer lens.

This was a yellowish-tint in a print you made? Are you sure it's in the original photography and not mistimed / mistransferred?

Yes, you need to haze a set to see the beams.

Looks like any powerful light shining through some window-like holes in the set, from a distance -- probably an HMI, due to the blue-ish color. The beams are not as parallel and sharp as you'd get from a Xenon (which they also used in some scenes, or a Molebeam projector).

Your shutter speed has to end up at 1/60th for 60 Hz lights, so you'd need a 150 degree shutter at 25 fps (crystal sync). A 172.8 degree shutter is for shooting at 24 fps in a 50 Hz country (since that creates a shutter speed of 1/50th.)

Transferring to film is not really a "quality adding" process, more of a degrading process in some ways (compared to just digitally projecting the HD source material). Your original recording is at highest quality that the image will be technically (not necessarily artistically though), unless...

You can convert 60i to 60P for a 60 fps slow-motion effect when played back at 24 fps. You just lose a little vertical resolution.

It's not a big deal to correct in post for the missing 85 filter, though an LLD filter is a good substitute instead of no filter at all. You may see some more noise in the blues since they are so overexposed as to be rather dense, and you may find correcting a blue image back to neutral ends up...

The bleach-bypass look is something like: Desaturated color Crushed blacks / clipped whites (i.e. high contrast) Grain So you can do all of that in digital color-correction, and some cameras allow you to do that in the menu -- the only trick is whether you think adding noise will substitute for...