I'd like to share a trailer as well

Marcel Zyskind · March 19, 2005

Hi

A film I did some time ago in London finally gets a release. My first S16mm feature. S16mm to 35mm anamorphic blow up.

Aaton camera and Zeiss primes.

7254 (great stock) & 7218 (pushed in some scenes).

http://bulletboy.net/trailer/

I really hope to shoot more S16mm for 35mm blow up. I much preferred to HD.

All the best

Marcel

John Pytlak RIP · March 19, 2005

7254 (great stock) & 7218 (pushed in some scenes).

http://bulletboy.net/trailer/

I really hope to shoot more S16mm for 35mm blow up. I much preferred to HD.

All the best

Marcel

<{POST_SNAPBACK}>

Did you really mean 7254? That film was discontinued in the mid 1970's. Or maybe your meant 7274?

Marcel Zyskind · March 19, 2005

You're right John. 7274 It is.

All though it would be nice to shoot some 70's stock. :-)

Thank you

M

drew_town · March 19, 2005

The trailer looks really good. Will the movie have a wide or select theaters release?

David Mullen ASC · March 19, 2005

Nice stuff -- poetic, realistic, dramatic... very rich-looking too!

Rolfe Klement · March 19, 2005

Very nice. Congratulations!

A quick question for both you and David (whose work is fantastic as well), how much say do you like to have over actor performance? Do you publically or privately confer with the director and say "good, bad, needs more" or do you distance your self from the performance aspect and focus more on the technical frame , focus issues.

I suppose my question would be if the director had the reverse reaction to a shot(you thought it good, he thought it bad)

thanks

Rolfe

J. Lamar King IMPOSTOR · March 19, 2005

Nice work Marcel. Great realism.

David Mullen ASC · March 19, 2005

I generally avoid getting into performance issues unless related to cinematography -- not so much for the director's sake, but for the actors' -- I don't want them feeling like anyone other than the director is judging their performance. They should only hear ONE VOICE on the set discussing their acting... and that's the director's.

Now, I will throw in my two cents during blocking & rehearsing both for technical reasons but also for story reasons.

#1 comment from directors on the set about my cinematography: "Do you need to throw more light on that? Looks dark over there..." I can't say I've worked with many directors who were saavy about lighting other than as a means to see the actors. For the most part, their tastes are pretty mundane in that regard, except for Michael Polish, who has excellent taste in lighting.

Marcel Zyskind · March 19, 2005

A quick question for both you and David (whose work is fantastic as well), how much say do you like to have over actor performance? Do you publically or privately confer with the director and say "good, bad, needs more" or do you distance your self from the performance aspect and focus more on the technical frame , focus issues.

I suppose my question would be if the director had the reverse reaction to a shot(you thought it good, he thought it bad)

Hi

It never really happens that I need say anything about actors performance. It does happen rarely that I suggest a different variant. Depends a lot which directors I work with, how they interact with me, how comfortable they are and so on.

I must say, I have been very privileged so far to work with very talented directors.

That said, I do enjoy watching actors performance and do not distance myself from it.

I have enough to look out for, since I always operate on the films I work on as well as light.

All the best

Marcel

Patrick Neary · March 19, 2005

Hi- really really REALLY nice looking!

was this strictly an optical blow-up to 35mm? Was there anything you would do the same/ differently if you were to go through the same S16-35 process again?

thanks for any insight-

Marcel Zyskind · March 19, 2005

was this strictly an optical blow-up to 35mm? Was there anything you would do the same/ differently if you were to go through the same S16-35 process again?

<{POST_SNAPBACK}>

Hi and thanks

Yes, it was strictly optical blow up. DI would have been nice, since it was a blow up to anamorphic 35. We did do tests. But in the end no money for a DI.

We graded on 16mm and the anamorphic stretch was applied in the blow up to 35mm.

So it goes. I'd pretty much go the same route again. If it is a grainy-gritty feel that is needed. It's a "street film" so the S16mm format suited this film very well.

But there are always small things I would change, a compostion here, a light there, but as long as I learn from that...

All the best

Marcel

Carl Durrenberger · March 19, 2005

Hi Marcel,

The trailer looks excellent. I like how you manage to make "real" scenes visually interesting with naturalistic lighting that adds subtle contrast punch (edge and side-lighting or spotlighting) while never calling attention to itself.

Really good work.

Incidentally, I saw "Code 46" in Oxford last year and really loved what you and Alwin Kuchler did to effect the dingy, futuristic film-noir look. I especially remember the street scenes in the Asian district of the city quite fondly.