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Jarin Blaschke

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About Jarin Blaschke

  • Birthday 09/28/1978

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  1. Ok, well, the last time I shot digitally was 2017 so there are a broad spectrum of experiences. I'm shooting a commercial on 35mm in a couple weeks, of all things... There is an unprecedented rise in 65mm production as well. Maybe it's just getting more stratified and we could lose a film technician pool to feed the upper end, but for now there is a different film situation than 5 years ago. Jarin
  2. It sounds like a test is really necessary! I will venture to say that it will be more sensitive to red than a tungsten stock, as an educated guess, perhaps similar to 5219's sensitivity to red... J
  3. Thanks. Without divulging much of the film or its aesthetic techniques, I’ll probably post my findings within the next week regarding the portfolio of Kodak film stocks, how I rated them, etc, within the next week or so. jarin
  4. We wrap principal photography tomorrow! For a 87 day shoot, only two days were lost due to false positives in our testing regimen, otherwise no covid hiccups. I was tested three times per week. Rob has a very long post production process ahead! J
  5. Yeah, right nowI'm doing exterior moonlit nights now with only 1 1/2 stops difference between the "moonlight" and the ambient "starlight." I also get costumes and sets to make nothing lighter in tone than the average skintone of the actors. Otherwise, you can't set your fill to anything consistent. You really have to compress tones for night work! J
  6. Yeah, I also light these with the same basic technique as day interiors, but with a little cyan+desaturation and a much lower fill/key ratio. On film, I'll put the fill light at -4.5 while the direct moonlight plays between -2.5 and -3. It looks terrible to the eye on set but falls into place on the film. You can put things further down the scale on the Alexa, the equivalent of -4.5 is probably -5 to -5.5 on the Alexa. There's a new additional trick I came up with for moonlight. If it's any success I can share next year.
  7. Thanks! We've been very fortunate to not shut down from COVID (knock, knock). A couple more months to go.... Jarin
  8. Well, since film naturally sees blue more readily, you could argue that a tungsten stock is a more “native” stock: the longer the wavelength, the more sensitization you need. I would hypothesize that a daylight stock needs extra sensitization for red, and to a lesser extent, green, rather than the other way around. In this theory, a tungsten stock naturally “sees” more blue than a daylight stock, and overexposes blue in daylight conditions. A daylight stock has to work harder To boost red and green to balance the color for a given speed. The fact that 5207 (250D) is a grainier and softer stock than 5213 (200T) might be evidence of this. ? jarin
  9. The question is completely contingent on the style of the film. There is no right answer. But for me anyway, the more I do this, the more I feel that the audience's understanding of specific 3-dimentional geography is overrated, even utterly unnecessary. That said, I tend to establish important spaces fully at the beginning of a movie to get it out of the way, but by having a character lead us through the space so it's "organic" and part of the storytelling. It can have intention rather than water the scene down. After that's done, we feel very comfortable in shooting the rest of the movie however we want. Caleb leads us through the house in "The Witch" and Ephraim leads us through the lodgings at the beginning of "The Lighthouse." The cable-up shot up the interior lighthouse tower does it too, but justified differently: we are drawn up toward the light by some sort of "other-ly" power. When I'm part of the design, I like to approach the "wide master" the same way as an "insert": with extreme discretion. To varying degree, they take you out of the scene, so I often try to include these images as part of a multi-stage mies-en-scene. Otherwise, at the very least, I aim them toward the beginning or end of the scene. They can be effective "buttons" for closing emphasis but feel clunky in the middle of scenes... but if placed well, that hard "clunk" can be effective too.
  10. Hi: I can't be of much help as far as history, but I have experience with some of the optics mentioned and can share. Some of what I state the below contradicts what others have said above in this thread, but what can I say, my eyes are clearly seeing otherwise. I have a variety of my comparison tests pulled up on my screen now. Color bias is all relative, but I find the oldest lenses (Cooke s1 and original Baltars) to be overall cooler in color than anything made later. When I was devising the "ortho" look for "The Lighthouse," Dan Sasaki once mentioned something about the glass types of the era passing more short-spectrum light, i.e.: UV and blue. (Original) Baltars: "The Lighthouse" "Enclosure" I like these a lot - the contrast is soft, subtle and open without looking flat. A very beautiful, delicate palate with a subtly cool color, but I wouldn't call it "biased". Smooth, silky skin tones - a hell of a portrait lens. You have to control flares though - I was constantly spot metering bright windows on The Lighthouse - there is a sweet spot where they halate nicely but beyond that they wash out the image. I set my highest limit at +6 reflected for Double-X film. The image circle is relatively large, the 25mm very nearly covers open gate...techically. However, there is a long transition zone before the image edge where the definition falls apart, so "useable image area" is certainly gray and subjective. The museum-commissioned "Enclosure" used full gate Alexa, which I now consider a mistake. I now would not use them beyond Super35. They have a curved field and pronounced cat's eye/football bokeh. I believe them to be single coated, contrary to someone's uncoated claim above. I've rented them from Panavision and TCS in New York. It is true that as-is, Baltars cannot be used with a reflex film camera. HOWEVER, Sasaki worked magic and optically spaced our "Lighthouse" lenses to be used for film. They are probably still kept that way (dual-format) - so there's a little secret for you. Cooke Series 1: "Back Roads" (certain sequences), tested on multiple occasions, used once on a fantasy Claritin commercial! These were a close second place for "The Lighthouse." I have them earmarked for a certain, future Eggers film for sure. They have a very similar look to the original Baltars, with a natural palette, and the swirly bokeh is almost a perfect match. The contrast is little higher, though, and the color is very slightly warmer, probably a proper "neutral' but everything is relative. Soft flare control is better. Out of focus backgrounds are a bit more "globular" looking, if that makes sense. The biggest difference, though is that the image circle for the 25 and 28mm is smaller than any other lens type I know, so forget about open-gate. So they are basically an enhanced-contrast, marginally warmer Baltar with an added soft vignette in Super35. I've only used them digitally, and would have to ask about adapting for use for film, a la "Lighthouse." Super Baltars: "Brothers", extensively tested. These are a very different look than the original Baltars. The contrast is much higher like a contemporary lens and the color much, much warmer - enough that overall I would call it a "warm bias." Maybe this is inherent to the design, but I have a suspicion that it could be from the deterioration of Thorium that was widely used in optics of the 50s and 60s. So maybe they were not always this warm - but this is pure speculation. Despite the contrast, this "macro contrast" does not translate into "microconrast" and skin tones are still very silky and flattering. Still a truly great portrait lens. "Cat's eye" bokeh is very subtle, but is still there, apparent when you compare to Panavision SS and more modern lenses. Just a hint of chromatic aberration, but only when compared to Cooke S2s. Much less than Panavision SS, or Cooke S4s for that matter. My only complaint is that the aperture blades are not truly round, so bokeh is a little geometric. Perhaps this can be fixed for a long project. Cooke S2 (and s3): "The Witch," "Back Roads" I picked these for "The Witch" because of the weird, globular, cat's-eye bokeh, before the series1s were rehoused at Panavision. At the time, the "crystal ball" effect on the backgrounds felt "alien" and unsettling to me somehow. This semi-petzval bokeh effect is more pronounced than a Super Baltar, but certainly less pronounced than a Series 1 or Baltar. Among 1960+ lenses, the color is very slightly cool- very different than its contemporary, Super Baltar. This was a subtle aid for our gloomy look. They have visibly less contrast than a Super Baltar too, also good for that low-contrast movie. Aperture blades are beautifully round, and most impressively, ZERO chromatic aberration- my least favorite aberration. Plenty of other aberrations though! For me, skin texture don't quite have the same "shimmer" and magic of a Baltar or Super Baltar though. But this is my personal ju-ju and and hearsay. Please test yourself. Kowas: Tested only, except for 1/2 of one commercial. These are an odd duck. They almost behave like lenses that are much older: very cool color, very low contrast and they flare very easily, even more than a 1939 original Baltar, so if you have a moderately bright window in frame, your shadows are significantly lifted all over the image. Despite these traits, they lack the special bokeh of older lenses - focus fall-off is slow, and it looks like you are you using a deeper stop than you really are: the resolution of a 2.8 with the depth of field of a 4 1/2. Because of these things, I kind of consider them the worst of both worlds. I would even call the contrast "flat." The weird thing is that, while the color is inherently very cool, the ever-present washout-flares are very warm, so you get a color-crossover effect from shadows to highlights. Good luck with the grade! This is a drab, very broken down look - I haven't found a project that calls for them yet, especially as I am moving away from the lo-con "Witch" look in general. But maybe one day a match will present itself. The one plus is that the aperture blades are very round, unlike a Baltar. Panavision SP: Tested once I consider this the midway point between truly "Vintage" and "Modern" look, but didn't see anything special about them in my limited "Witch" test. They are comparable to Panavision SS lenses, likewise have some chromatic aberration, but instead are slower, flare more and have very geometric aperture blades, unlike the round SS. I'd rather go one way or the other, decisively toward the Super Baltar or the other way with an SS. Other menu selections I have tried: Leica R (like), K35 (don't like) Other interesting off-menu things I have used: Panavision Petzvals (35mm, 58mm, 85mm), a 50mm uncoated triplet.
  11. No! Ignoramus! I’ll look for it. I shoot 8x10” film almost exclusively myself, including family photos, so it’s all a serious downgrade when I shoot a movie. Those 18x22” contact prints Carleton Watkins made are something else. The more difficult the medium makes the photograph, the easier it makes the print. I’m astounded at the lengths Watkins, O’Sullivan and others had to take to make a mammoth plate photograph in wet collodion in their conditions. A photograph, on fragile glass, on an emulsion that becomes insensitive a few minutes after it is mixed from scratch... mixed in total darkness, in a makeshift tent in absolute wilderness, all 22 inches of image without dust or irregularity of coating. Processing is conducted in haste but perfectly in wilderness. Then the fragile glass image travels on wooden wheels over wilderness for months without breaking or becoming clouded in dust. The Ether and other exotic, volatile chemicals travel similarly for months without fire, explosion or suffocation of the proprietor.... THAT’S PHOTOGRAPHY. j
  12. One of these days I'll ask Fotokem whether their B&W machine could handle 65mm. A recurring fantasy of mine. 65mm Tri-X would be the ultimate medium. If one could make it work with finicky pyrogallol developer, the perfect moving monochrome image.
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