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  2. Tried and had the lamp in dead center, I think that’s just how it is with joleko, unless someone can confirm I’m wrong about it.
  3. Today
  4. Especially with how fine grained ektachrome is, honestly on hbo with it's compressed bandwith it looks just like any other 2k finished alexa project, since 35mm ektachrome don't even have that much halation, feels like a bit of a waste imo, to not even get a proper positive out of it. Love the ektachrome positive look, don't know why they cross processed it.
  5. what is the difference in the resulting image compared to traditional processing as reversal? The show looks great regardless of how much that has to do with the ektachrome
  6. I was wondering if it is normal. I’m gonna re-assemble it, and try different lamps and keep that in mind. But I think it was set all the way.
  7. and if you are editing camera original, you may want to read up on "A and B" roll editing. that allows you to print from an edited camera negative without splices showing.
  8. Yea I don't understand why they feel 16mm isn't enough quality for them.
  9. Could this be an issue of lamp placement? I have barely used real jolekos, but any lamp of that sort is subject to that sort of issue if the lamp isn't lined up correctly against the reflector and lens assembly.
  10. I have an 800w joleko, recently did the conversion for the first time and my 50 degree lens has a hot spot, I also have a newer EDLT lens 36 degree and also has a very apparent hotspot, is this just the norm? I’m very disappointed if this is the case, was hoping for a more even beam. Yes, I have the Bug A Beam adapter with the extension.
  11. If they shoot a season of it on Super 16 it would look more obviously shot on film (presumably that's the look they're going for). 35mm can look so close to digital.
  12. Yesterday
  13. Na, film cutting and perforating have nothing to do with the stock itself. They just pushed Ektachrome through the same standard cutting and perforating process they use for all 35mm negative. The lab simply used one of their negative processes to cross process, super straight forward.
  14. They serious made kodak construct an entire new assembly line just to cross process the ektachromes? The trailer looks good but honestly feels like it's entirely achievable with digital with a print film lut tbh.
  15. Buyer fell through. Listing again. This has to go.
  16. I was watching an old 1949 noir film...Criss Cross. They had a scene with a PE streetcar in it. Here is one in action... Pacific Electric Los Angeles Streetcar Clip From Criss Cross 1949 Film : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Pacific Electric ran street cars on 1000 miles of track, in and around L.A.. Here is the map... A modern version of it... https://www.trains.com/wp-content/uploads/2021/01/4PEmap.jpg The movie brought me back to my childhood when I remember the tracks and wires on Pico Blvd. From what I gather, the diesel bus makers got the go ahead to replace the electric street cars with diesel buses. By early 1960s the electric street cars and overhead power lines were all gone and the rails pulled up. I forgot they had even existed until I saw one in the movie last night. Source: Streetcar History - Los Angeles Streetcar, Inc.
  17. Heya, folks! Aside from being a filmmaker, DP, and colorist, I'm also a composer of music for media! Before I went to college to study film and video production, I was a music student in public school. Once I was in college, I made music on the side, and then I started composing professionally in 2015 for a YouTube web series. I mainly do orchestral works using entirely MIDI-based virtual sample instruments, but I also dabble in synth/sound design and rock-based tracks, too. Would love it if you guys would give my latest demo reel and some samples a listen! And if you'd like to listen to more, you can visit my website at https://www.adam-guzik-silver-films.com/music Thanks so much! Best, Adam Here are some Scoring Competitions and a Rescore I've done recently: And a few Miscellaneous pieces:
  18. Hey y'all, looking for a beam splitter for the classic SR3 IVS system. If anyone has one let me know!
  19. In your opinion what is the best tiny camera with a side-swivel screen and internal 4:2:2+ recording? Been on the hunt for like 5 years for one.
  20. One important factor: We decided beforehand that we wouldn't go for full coverage of everything.
  21. Chasing Beauty 2013 gives you a candid look behind the scenes at the modeling business. Here is a clip from it where shows a sample of the post processing they use, and they discuss cat-like beauty standards as well as odd looks to capture attention. The clip finishes with photos of 2 very thin models from the film. Clip From 'Chasing Beauty' a 2013 film about modeling : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive I never knew they did so much retouching. I figured it was all skin smoothing, not readjusting eyes, cheeks or lengthening the neck. Being a documentary photographer, you can only screw around with a photo so much before it is a lie. I try to keep things pretty honest with digital, similar to what we did in the wet darkroom. Plus, it helps that I don't know how to use Photoshop. The film goes on to discuss some of the salaries of the highest paid models. One 'supermodel' made $45 million in a year, another made $20 million. And it discusses the origins of the term supermodel as well. Diet is a big deal and discussed a lot. One model ate cotton balls soaked in OJ, another lived on a diet of coffee with whip cream squirted on it for a while then moved onto a 2-week diet of carrots only. The film is a really fascinating glimpse into the world of modeling. It also showed me how you can use a slightly wobbly or moving handheld camera for an interview and it does better with jump cuts rather than using a static tripod if you are going to have lots of jump cuts.
  22. We shot this pretty much similar length, rather dialogue heavy short film back in 2008 on 9x400ft. 5 shooting days. As a director and producer (I wasn't the DP) I have the feeling we wouldn't have had enough time to shoot more, even if we had had more film. But your mileage may vary.
  23. On average, I try to go for a 7:1 - 10:1 ratio unless it's very slim on dialog. You want enough film to make mistakes and re-shoot things, but also have enough coverage so it looks professional. For the sake of easy math, I usually just say each roll is 10 minutes and if your script is 15 pages (1 minute per page on average) you're looking at 15 rolls to cover the 150 minutes.
  24. Hey everyone, This might be a bit of an amateurish question, but it's something I'm trying to figure out. I've shot 16mm pretty often with my Krasnogorsk-3, but obviously only using 100' rolls. The one time I've shot with an SR2 we used about 3 rolls for a 5 minute long project, however it was a shoot made up primarily of B-roll type shots and saw us frequently shooting at 48 and 60fps. I'm prepping a narrative short film which will probably run about 15 minutes and I'm trying to gauge our costs for buying and developing. We'll be shooting the entirety of this film at 24fps and with a mix of traditional coverage and a few longer takes. How many rolls of Kodak 7222 16mm film would be safe to get? Thanks!
  25. Who wants to deal with a single micro-HDMI output in this day and age? Such a significant headache for almost everything. So it strikes me that there are far more appealing options in the mirrorless space at present.
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