Cinematography Mailing List - CML

Conversations between cinematographers and crew about Post Production

16mm Black & White Thru TK

16mm DI To 35mm

16mm GreenScreen

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

Anamorphic Lens For Projection

AJA SDI 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

Dealing With Unintentional Over-exposure In Telecine

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 Delay *(Miranda DVC- 800)

EDP100 or Decklink Multibridge Express

ENR Transfer

FCP Field Issues

Feature Film Process

Film TimeCode


Ghetto Style Film Transfer

Grading & Stock Choice

Hard vs Soft Matte For Answer Print


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


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

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