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Phil Soheili

Basic Member
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About Phil Soheili

  • Birthday 11/12/1965

Profile Information

  • Occupation
    Cinematographer
  • Location
    Milan, Italy
  • My Gear
    Arri 16SR 3, Nikon D800, Bolex HR S16-X
  • Specialties
    Cinema, Photography, Philosophy, Science, Music (composing, recording), Travel, Wine, Food

Contact Methods

  • Website URL
    http://europhoto.us
  • Skype
    ankh-studios
  1. Why not try something counterintuitive. Use a long lens for a wide shot (moving out) and using a wide lens for close ups and portraits (I tend to like that a lot if done well). It's true "you like what you like" but: a) you cannot like what you don't know and b) you don't even know what you like when you don't know it! :D and most of all c) you are already aware that you are missing out on s.th. and that there is potenial for growth. When you say you are "predictable" to yourself, that sounds a lot where I have been - for other reasons and in still photography I was getting bored of my own approach to subjects. Photography, for as much as it can be a profession, when practiced as art is passion driven. I don't think I could keep that passion alive if I cut its lifelines (creativity, play with its implicit failure and learning, the unknown, the magic) You might do tests where you force yourself to use a different lens from what would be your auto-pilot choice and then see how by simply playing with a frame your creativity grows to embrace a new constraint as a liberation. Constraints usually come from "out there" (locations, directors etc..) Why not impose some on yourself and make the experience that even then you can be creative and deliver "punchy" results through these limitations. That will give you larger sholders as well because you then know that constraints are a lever to your creativity and not a menace. Have fun Macks, it's what brought you here! Best, Phil
  2. Hi Jon, There were these loupes you used on a light table (or even on the fresnel screen of a 4x5 (or bigger) view cameras) as you said, these can be held against the light, maybe not the sun to protect your eyes but against the open sky. Second I had a so-called linen tester (wikipedia that), was really a mini loupe the size of a billyard cane chalker They used it to literally count the lines of a (classic cmyk) print on the paper. The have a bigger magnification, but often they were made from metal so watch it they might scratch your neagtive. Regards, Phil
  3. Hi John, I did that in the past. Problems? The 35mm full frame lens covers the super16 frame easily but: • Ususally focus "breathes". • You can use only Non-"G" (the older) lenses because the "G" type will not have an aperture dial on the barrel and if the adapter isn't prepared to press that inner lever, the lens will be at it's highest aperture (that is the lowest light pass). On the old Nikkors mostly "22". • Price is a problem. If you want to go wide with (photo) Nikkors, considering that 25mm is the normal for S16mm you will have to use a 16mm (35mm on a full frame) as a wide and a 11mm (24mm on a full frame) as a super wide. These lenses are cheap as a diamond and have huge distortion (less today, but those are all "G" types). If I remember correctly the 11mm has even the fish-eye dot on the full frame. You might still be able to get the full S16 frame lit but the distortion is crazy. On the other hand: I used a 500mm Hasselblad Zeiss with two adapters and got a frame filling moon surface on my S16mm. Alas the picture was so dark I couldn't shoot because I would have had to expose frame by frame and had no tripod for the camera (let alone the 3 pound lens!) :D))) So if you already have the older Nikkors - it's fun and some of those lenses paint beautiful pictures. Try it! Good luck and have fun!
  4. Hello Aneesh, I could think of close-up shots on her hands or legs (e.g. crosses legs - if asit) or the feet / shoes as she changes position. You might use her reflection (in a glass or window) or her shadow. The first part (with her "off") shows how others react to her, detail shots as described above might show us her reactions to them. Best. Phil
  5. I cannot really se which parts are moving and which ones are not, but I see you did not release the loop formers. (usually happens in automatic when you close the cover, but you can do it if you press the metal "dot" marked red on the pic) These help threading the film in but should be released when the film is fixed on the "taking spool" to allow for the films "physiological" motion.. https://www.dropbox.com/s/x8chdu6rseclbot/bolexdot.png Ciao
  6. There is - right in front of the prism - a gelatine (filter) holder. Just check if it is fully inserted and / or if it actually carries a mask or sth like that. best, Phil
  7. Dom, wow, (thx!) I have a similar paper that says what I shared before. But I'll take that as a proof for my second thought - that. If you overexpose as I always do for aesthetic reasons about 2/3 of a stop, the (1/4 of stop) loss from the prism should be taken care of. ;) Thanks for the comment! (If I find my source I'll share it) Best
  8. SR from 1975 (source: https://en.wikipedia.org/wiki/Arriflex_16SR) Or did you mean your specific model? (Then I don't know..) ;)
  9. According to Bolex the Prism takes off a 'whooping' 5% of the light. (Approxiamtely an eighth of a stop) I wouldn't even know how to compensate for this. Or the other way 'round: If you already overexpose the neg for any other reason you shouldn't have to worry about the prism anymore. Best of luck!
  10. As a HDR workflow I would imagine to first determine the proper exposition for middle gray on your film, then do three scans: one at ±0 that value, one 1 aperture over and one 1 aperture under it. Do all scans with the same brightness, contrast, sharpness, WB settings => as flat as possible. Don't move the film on the scanner between scans. If your resulting images are photos you can use Photoshop or Lightroom to create HDR images. (Then QT to convert to film clips) (I am not aware of any film & video editing software that could do this HDR composing but I guess there should be some out there.) In my experience you are best off with the lowest contrast image as you can possibly get (ever seen a RED RAW?) and give it the "shape" in daVinci or whatever is comfortable to you. - AND: Who does the S8 scan in Milan (I suppose Milan, Italy)? I have a few rolls I would need a scan from? It would be nice if you could say a few words about the scan quality once it's done.. - Good luck!
  11. 15-20 yrs is not as far away as one might guess. When I used to be the assitant of a fashion photographer (back in 1991) we used the newest emulsion at that moment: Fuji Velvia 50 slide film for catalog work and for editorial purposes (when a little more creativity was allowed) we sometimes cross processed Kodak Gold 100 negative film. (I think "Gold" was a european denomination and in the US it had another name). When b&w was requested we used Ilford xp2 for its great sensitivy and tolerance of over and underexposure. Fuji's Velvia 50 is still available today (as might be Kodak "reversable" negative films) and if handeled properly produces great result that has nothing to envy of digital capture. Cheers, Phil
  12. The fact that you have that gut feeling of the rig being wrong, says it all. (Why would you have psted the question?) Learn to listen to your intuition. Make it rock steady even if that means you need to buy or rent pieces. Even if it won't crash, you'll be a lot calmer while shooting. There's no need to put anybody at risk. Remember, it's only a movie. Good luck, too!
  13. Ah, ok! I just saw the bts. It's projected but not in "front-pro" process as in your "diagram". Maybe they call this process front-projection too, I thought it refers to the mirror system only. Cheers.
  14. another point in using the mirror is that your projected footage is at 90° perfectly. You don't want to (at least most of the times) see perspective distortion in the background images. If you have a tilt/shift lens or other means to control the perspective on your projector AND if you can manage not to have your actors and buildings cast shadows on the backdrop you might give it a try. Test it. But from my experience of some decades (!) ago: I don't think the image above is actually front-pro. To me it looks like a painting. Front-pro was projected on a 400% (or better) reflective silvery foil. The image could actually be seen ONLY in the camera's viewfinder because the ambient light during prep. would kill the image. Ambient light is high in the pic. as you can tell by the shadow in the unequally lit seamless background (in the curve) Maybe things have changed... ;) Good luck!
  15. Hi Gareth, it's going to be "cozy warm" there. Might this not actually damage the camera and film? Maybe never letting the engine run in idle might do good. Good luck!
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