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Erik Turestedt

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About Erik Turestedt

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  • Birthday 10/30/1981

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  • Occupation
    Director
  • Location
    Sweden

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  • Website URL
    http://www.Luminante.com

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  1. Eclair Cameflex CM3 35mm 2-perf techniscope camera for sale. I'm asking 2400USD for it. This camera is one rare 2-perf techniscope modified CM3 with PL mount. For those not aware of 2-perf, it basically is a modification which allows you to shoot Cinemascope directly on the neg reducing the stock cost to about 50%. I bought the camera from Film-camera-kit UK in 2011, and have never used it. I bought it from them in good working condition and maintained. I have only unpacked the camera and since then it has been stored, since I did not have time for my original intention of shooting shorts with it. Now I figure it's better to sell this beauty to someone who will have more time for it. Included: Tobin crystal sync motor Tobin Time Lapse motor (Originally for Bolex, but works with CM3) 2 400ft mags 2 200ft mags 2 100ft mags 15mm rods Batteries not included. Can ship it anywhere for additional cost. Not sure about the shipping fee's. But will check it out for the buyer location if interested. Item located in Sweden Mail me at erik@luminante.com if interested. Best Regards, Erik
  2. I'm selling an Eclair CM3 Techniscope 2-perf camera (PL mount). I bought the camera one year ago in good working condition from "The Film Camera kit" in UK and have not used the camera at all. Included in the package; Eclair CM3 2 100ft Mags 2 200ft Mags 2 400ft Mags 15mm rods Tobin motor 24-25. Should run slomo with extra batteries. Additional stopmotion motor The camera has PL mount. It also has an adjustable shutter-angle from 15-180 degrees. The eye-piece is a rotating one. The package does NOT include batteries. It runs on Bolex batteries, or other 12 volt I think. I'm not absolutely sure, but The Film Camera Kit, UK have them. I ask 2500€ for the full package (shipping not included) Mail me at erik@luminante.com if you're interested...
  3. I'm selling an Eclair CM3 Techniscope 2-perf camera (PL mount). I bought the camera one year ago in good working condition from "The Film Camera kit" in UK and have not used the camera at all. Included in the package; Eclair CM3 2 100ft Mags 2 200ft Mags 2 400ft Mags 15mm rods Tobin motor 24-25. Should run slomo with extra batteries. Additional stopmotion motor The camera has PL mount. It also has an adjustable shutter-angle from 15-180 degrees. The eye-piece is a rotating one. The package does NOT include batteries. It runs on Bolex batteries, or other 12 volt I think. I'm not absolutely sure, but The Film Camera Kit, UK have them. I ask 2500€ for the full package (shipping not included) Mail me at erik@luminante.com if you're interested...
  4. Eclair Cameflex CM3 2 perf techniscope camera for sale. 2 motors included. 2 400ft mags 2 200ft mags 2 100ft mags 15mm rods Batteries not included. I bought the camera from filmcamerakit and have not used it. Should be in perfect condition. Will sell for 2500€ Can ship it anywhere for additional cost... If interested mail me at erik@luminante.com item located in Sweden
  5. Thanks a lot guys... Appreciate the good replies... Well it's a hard business. I really regard spending time as invested money... Since salaries of course stand like the biggest part of a budget, some low budget feauture's couldn't coup with it. Me, myself havent made a single dime on any dramatic production. Although I completely earn my living from commercials and infomersials, my only future vision is feauture film. Jumping in to it, I realize it's a big hell understanding distribution and so on... Any tips on distribution and funding material to read (or sites)?
  6. Of course the best way is to shoot film. I would shoot reversal, or shoot normal but overexpose it several stops, and take it down in post. This way you loose much of the "modern" color detail of the neg. And the contrasts look more suitable. But maybe film isn't an option. Then there's another "Bad" idea... I like to do this personally, and I did in a number of projects; Shot something on video or film, then grade it, and in the end play it on an TFT monitor and record it on film or video. Preferably film of course. It sounds stupid, but you get very strange gamma, contrasts and color by doing so. And somehow, you loose the pixel to pixel feeling. The material looks more organic, and much of the "synthetic" feeling dissapears.
  7. Or you could make a 2 perf conversion, to shoot "scope" in camera, spending half the money on stock and process. Waiting for my 35mm Eclair Cameflex CM3 2perf to be delivered... So I'm soon Cameflex guy too...
  8. Just waiting for my newly bought 2 perf Eclair Cameflex CM3 to arrive. Then I'll do some tests. Looking forwad to! Two films shot on 2 perf here in Sweden are; Frostbiten Varg (This one is with Peter Stormare, so it's probably easier to find). Can't recall I saw any hairs or spots on THX 1133. Probably the most convincing film shot on 2 perf. In some weeks or so I'll be able to shoot some tests, so then I'll know. Anyone got any good tip on where to find motors and spareparts for Eclair cameflex?
  9. Anyone knows good forums where you can find both established and unestablished actors in Germany? Regards, Erik
  10. When I cut 30fps footage I always export it from a 25fps timeline, then import it again. Then everything ran good. However it was quite a while since I did this... And as it goes to any external sound synq, don't know what happends... To bad some things only come 30fps. No offense fellas, but I hope all tvsystems unite on 25fps, because it's not a headache like 30. When films are shot in europe, many times they're shot 25, then just run 24 on cinema. The audience dont see the difference, and the sound is just slightly pitched... But I'd also like to try that 5d camera, since a friend of me bought it... so anyone know a good way to convert 30 to 25, please tell about it...
  11. Since I wen't with prores 422 there is nothing else for me! It kicks ass... Thats all I can say. Never had any problems with it. Picture is awesome. I'll post from film to prores 422 on some tests soon. The lab (stockholm post production), said that they do this quite often. Of course 2k or uncompressed HD is a bit better... But on the other hand, I can't imagine that something shoot on s16 cut prores 422 then recorded on for example cinevator or more expensive arriprint still wouldn't look great! This process but with HDcamSR looks very good on the big screen, even if many would say the only way is 2k scan. I'm impressed by prores. But keep in mind that still I haven't recorded or printed back to film for the big screen, so I can't answer how it looks in cinema from prores.. And when it comes to efficency prores is so good codec! Never got any bad renders! I even cut things on my intel macbook white with 1,2gb ram without any lag or slow workflow! Imagine doing that on a pc! When it comes to the technical details I cant say I know much... Other than that prores is full raster! Meaning that there is no HD 1440x1080 upres. It's full 1920x1080 pixel to pixel as I understood it. Only bad thing I saw was when I ran 1280x720 with red text from AE. The text looked a little bit like it had deinterlaced artefacts. But then again, red color is always a warningbell, and should used with precation. I use prores today mainly for shooting commercials, shot HD. And next up is film! I'm looking forward for the tests, shoot either s16 or 35 2perf...
  12. Just wondering, anyone know how common it is to shoot independent, and offer actors/team a percentage of a possible future distribution? Anyone did this, or know if it's common? I'm planning a feauture where a budget can't include actors/team... however I haven't got much problem getting people for free who believe in the story. But I wan't it to be jurudically correct done with a lawyer an so on... and it's quite hard to guess the percentage... Is there anyway of counting on percentage? Like how much from budget does a main actor get? A boom operator, and so on? It's of course hard to estimate... It's probably easier to try to estimate how much a boom operator costs per day, and count on a normal filmbudget. But when it comes to financiers... I have a financier who's prepared to support with 30% of the budget if we get them a good deal... How much should this partner get from total sales in %? Would be interesting to hear of others idéas and experiences in this... Regards, Erik
  13. Hi guys, First of, I logically assume that 35mm 2perf is developed the same way like all other 35 perfs? My workflow would be to telecine to hd-preferably prores 422 on disk. Anyone know good labs that handle 2 perf telecine (europe or us)? I mailed Bonolabs, still waiting for reply... But it would be nice to hear if someone did 2 perf there.. Regards, Erik
  14. I first heard about flashing the negative some months ago, But I never understod what it really means? What's the actual process? Any film where it's obvious that this process was made? I think I heard that Minority report, or was it Private Ryan was both Bleached and flashed?
  15. Hi guys, First of, I logically assume that 35mm 2perf is developed the same way like all other 35 perfs? My workflow would be to telecine to hd-preferably prores 422 on disk. Anyone know good labs that handle 2 perf telecine (europe or us)? I mailed Bonolabs, still waiting for reply... But it would be nice to hear if someone did 2 perf there.. Regards, Erik
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