nitejrny282

How do I message you? Thru your site?

Interesting. Do you know what the details on the telecine would be? (i.e. Which codecs, pci cards and post-houses produce the best quality.)

Last year I shot a couple thousand feet of 16mm VISION 2 color negative as well as some Black & White PLUS-X 7231. And what amazed me was the beautiful look I got when I pulled the color out of the color negative footage using Final Cut Pro. Compared to the richest shots I got from the black and white negative, it couldn't compare with the range I got with the vision 2. I read that the Coen Brothers discovered this when they were forced to shoot their black and white masterpiece THE MAN WHO WASN'T THERE in color negative for foreign distribution. Has anyone else found this to be the case? It makes economic sense for Kodak to put research and development in bettering their color negative, since Black and White is such a small market. Unless price is an issue, why not just shoot using the Vision 2? What are the benefits of shooting 16mm black and white negative?

TRIED TO EDIT MY POST, BUT GOT AN ERROR. HERE'S THE EDITED VERSION... I found a post here showing the results of using Bono film labs new tapeless transfer option. And it seemed clear that transferring your film negative to Betacam to Hard Drive is still the better option. But now Bono film labs says they have a new Raid kit (at 1600 dollars) that will allow a dual G5 to handle uncompressed footage in native HD format. Has anyone installed this new Raid system and gotten better results than film to tape to hard drive? I've been using Fotokem to process my 16mm, then transfer it to Betacam, then use Blackmagic hardware to put it on a pair of eternal firewire 800 drives in stripe format. (The striping of the two 800 drives allows my G5 to handle up to 10-bit prossessing speed.) But if this new Raid kit is as good as they say, I'd skip the tape option. If anyone has any experience with this new process, please let me know what you think. Thanks in advance, Enio Rigolin

Has anyone tried Bono film labs new tapeless transfer option? Taking processed 8mm, 16mm or 35mm negative and transferring it straight onto a hard drive for editing? I've been using Fotokem to process all my 16mm, where they then transfer it to Betacam, and use Blackmagic hardware to transfer it onto a pair of eternal firewire 800 drives in stripe format. (The striping of the two 800 drives allows my G5 to handle up to 10-bit prossessing speed.) But now Bono film labs says they have a Raid kit (at 1600 dollars) that will allow a dual G5 to handle uncompressed footage in native HD format. If anyone has any experience with this new process, please let me know what you think. Thanks in advance, Enio Rigolin

Thanks for the quick reply. I have a roll of Kodak 320T/7277 indoor which should do the trick. But what can I do to get that rich, gritty steel-blue look rather than just a washed-out flat blue look? How does Fincher's DP do it? Is there a better stock I can use?

I'm shooting a 20 second spot on 16mm. The location will consist of a city sidewalk, a public phone, and a homeless man. The look, in terms of photo image, I want to achieve is overcast lighting, shadows of black and an overall tint of steel-blue. I can't think of a good example, maybe The Matrix? Anyway, can anyone recommend a great 16mm film stock that would enhance this effect? Or possibly some in camera filters? Or film processing tricks that I would notify the lab to do? Thanks in advance.

On average, how many storyboards (i.e. individual shots) would a 133page action/thriller feature film require? I'm in the process of looking for a really good storyboard artist to do concept art and eventually storyboard the entire script with me. Does anyone know where I can find a good storyboard artist and what their rates are for a low budget feature? Thanks

Thank you! What do you mean by DI?

I know no one has responded to this post yet, but if there's anyone out there who's curious, I found this link... http://www.cinematography.net/%5Bcml%5D%20...elic%20look.htm

The look I'm trying to get is similar to that over-exposed, washed out look David Fincher gave Madonna in her "Respect Yourself" video. (Anybody remember that one?) The lighting was intense, practically washing out any distinct features on her face. As if the f-stop was left wide open with a heavy diffusion filter laid over it. Another example would be several amazingly overexposed shots by Robert Richardson in JFK. (Although those shots were B&W and I want to achieve this in color.) Can anyone suggest how I could produce this look on 16mm film? (Using a reflex Bolex w/3 prime lenses.) What kind of film stock should I use? What kind of lighting? (The shot will be an extreme CU of a face, so I shouldn't need more than one light, right?) What kind of light reading should I go for? And how many f-stops over the reading to get a substantial overexposure? What kind of diffusion filter? Any suggestions would be most welcome... Thanks in advance!

The look I'm trying to get is similar to that over-exposed, washed out look David Fincher gave Madonna in her "Respect Yourself" video. (Anybody remember that one?) The lighting was intense, practically washing out any distinct features on her face. As if the f-stop was left wide open with a heavy diffusion filter laid over it. Another example would be several amazingly overexposed shots by Robert Richardson in JFK. (Although those shots were B&W and I want to achieve this in color.) Can anyone suggest how I could produce this look on 16mm film? (Using a reflex Bolex w/3 prime lenses.) What kind of film stock should I use? What kind of lighting? (The shot will be an extreme CU of a face, so I shouldn't need more than one light, right?) What kind of light reading should I go for? And how many f-stops over the reading to get a substantial overexposure? What kind of diffusion filter? Any suggestions would be most welcome... Thanks in advance!