Adrian Sierkowski

I'd recommend 7217 200T. I like the grain structure of it, overall; you can shoot it outdoors with an 85 rated @ 125 asa (pop on a polarizer and loose 2 more stops to kinda control your iris), and you should be able to light for it on ints without having to bring out super big units.

Could you imagine how hard it would be to keep a literal ivory tower clean and sparkling. . .(sorry havn't slept since 6 am yesterday!)

someone more uncertain about their abilities than I can be at times? The business is often a frightening beast, and school a quite comforting bed-fellow (when you at least feel some superiority to the younger people?)

So, this morning, after working an overnight poop at the day job, I went over to Shooters Inc here in Philadelphia with 3000 ft of a short film for Temple University and sat down at their Spirit. Popped the footage up on the screen, out of the shiny Technicolor cans, and was absolutely blown away. It worked. I breathed. there were no scratches this time (evil mag from last shoot!), hardly any dust or hair, and everything came out almost exactly the way I saw it. The director was so at ease after the first flat we went off to text god knows who for a good 5 hours while the colorist and I transferred the footage. I am not really sure why I'm posting this; except to say, I am damned thrilled. 6 days of shooting, 1 year of talking with the director from concept all the way up to execution, and everything finally came together as we went over to DVCPROHD. I am, to use a weird term in my head, PROUD AS PUNCH! The only issues we really had was with highlight blow out on our exts. We were in pretty shaded streets with tall buildings in and around Philadelphia, so I shot on 7205. I was working at a comfortable F stop of 5.6. so of course the white building in the background went a little. . . well in bright fall sun you can imagine! Still, I cannot help but sing my praises for the people over at Shooters, and for the whole crew. I can finally breathe after all the weeks of worrying there would be NOTHING on the neg. Next time I'm asking for dailies! Sorry if it's the wrong forum. Sorry if it's just boring. But, I needed a rant and figured I might as well air out my slight insanities here instead of elsewhere. At least when I pull out the jargon people can follow along. If anyone would like as soon as I get some footage digitized i'd be happy to throw it up. Till then, I have some reference stills on my picasa account (http://picasaweb.google.com/crimson238 under the Origins Ref folder) which we shot with, when we could a Nikon D80 set at the ASA and f stop i was working with and, occasionally, a simple point and shoot pannasonic lumix. alright; ranting done. apologies for wasting anyones time :huh:

The damned blood bank here won't take my plasma. Something about being out of the country and risk of malaria or the like :( Anyone interested in a kidney? I need to buy a new zoom lens! :blink:

I am pretty sure I didn't use my real name at first, and I think it was Mr. Mullen who corrected me on my first post. I'm all for the name rule, don't get me wrong, but I just speak for the laziness of the forum register inasmuch as I didn't read the rules. First last name is very important, though, as I think of it. I mean, it does add an air of credibility to our advice. After all, we're tacking out names to what we say, and what we ask.

OK, so, I downloaded it and watched it, which did take a bit. I like a lot of the stuff around the pool, but I feel that the inclusion of the B/w footage is a folly. The footage is good, dont' get me wrong, but it has the feeling of, well, film school with the bolext. Some of the shots are strong, while others seem lackluster. Please don't take offense to that, I'm just giving my honest opinion. I think the biggest issue might be raccoon eyes in that footage IMHO. That aside the reel looks very good and has a nice pacing to it. I don't feel any shot was too long, nor too short and the music was a good choice. (Ps, i like the b/w with the blinds cookie up on the wall, so keep that for certain!)

Load time is definitally an issue. It's been 5 min so far on my DSL and i can't get past the first few frames.

I would recommend the Nikon AI for good cheaper glass. I like the Nikons out of personal preferences (and that I own a nikon camera). Also, i recall picking up an "e" series used from Bh 50MM F1.8 which was great. They also have f1.2 lenses out now, which can be a couple hundred.

Anytime. Keep up the good work. I'm curious, what did you shoot that rooftop stuff on? I know super-6, but which camera/stock/lens?

If you were shooting on video I'd go for arri 650s, and 300s. But that's just me. Seems to make sense to have units that won't blow too many 15A circuits too easily and should give you at least some flexibility. (add in a 1K for a nice key, with a 650 and a 300 and you have 3 point lighting) I've even seen an Arri Kit with 1 650 1 300 and 2 150s in a nice shoulder bag with stands!

I always freak a friend of mine out who I shoot a lot with by guessing f stops. He calls me "obsessive," but then again, he is much more a writer than a shooter. Neg film is very very forgiving later on, as mentioned. There's a great line from a TV show I heard once which read "shoot film, you can trust film." And you can.

Figured I'd add in one of my set-ups. Might not be anything breathtaking, but, hey, it's something. I have a 650 up in the ceiling which is falling back and hitting the hanger (where the center char's costume was hanging) as well as 2 1Ks outside shooting back in through 2 off screen windows. There was also a 2K down a flight of stairs (not in picture) and a 1 K nook hanging above (slightly off screen going directly down for a h otspot in the center of the room). We were shooting 7218, so I was a little concerned about the blue from the windows. I'll be transferring on Friday with the director, so we'll see how i t comes out.

Some nice looking stuff. Love the colors in all of it, lots of saturation. Looks like you're off to a good start. The only real critique I could offer would be a want to see more interior locations. This is primarily only to show your ability to create light in a space for an impact; if that makes sense (though the bar shot is fantastic). Also, maybe a little bit more verisimilitude of projects; but again, that's mostly just my personal preference. A good looking reel!

As a rule of thumb I try to keep it within 2 stops over and 2/3-1 stop under. That's just me, though, and Hell I could be wrong, but thusly I've been pretty pleased with that. It does depend a lot on the scene context (what shades are in the room, for example) and the particular look. For me, I try to expose for what is most important in the scene, and often will just let the shadows/highlights fall where they may.

Seriously, though; I do have a real kinda question for this in terms of cost, What would be a bare bones minimum budget, would one assume, for a simple all ext IMAX film? Figure around 90 minutes, light dialogue, no special effects or very difficult shots; much in the same as some of the very first films? I know there is no cut and dry answer to this; but just to satisfy my own curiosity, any estimations (and no, I'm not joking nor do i mean to waste anyone's time.)

From my experience the noise on the HVX with gain is ugly! Avoid gain if at all possible!

Any they're right, so long as the lab knows there's no core (i usually write this on the can) it'll be fine. Those cam stock in my ARRI SR3 Mags, but I changed them out for the standard core adapters just for simplicity's sake. Look on the bright side, now you'll have a few extra cores to hang onto that otherwise would've been lab bound. You have no idea how useful this can really be for those strange times when there is not a core to be found

I normally rate the HVX @320 asa straight (24p) and then with the RR i'd go 'round an 80ASA as well. But that's just for a rough estimate, normally i'm setting my exposure off of my zebras

Whew, good, for a moment there i seriously questioned my sanity (after 30 hours of being awake, it's hard to tell what you know and what you're imagining! anyone know how to make blue people go away? :wacko: )

I'd aslo add the model work from 2001 to the tier of some of the tops. Mr. Frisch, do you mean "stop down the lens to maximize Dof?" or am I that tired?

I can't even begin to embarrass myself enough and say how many times I had been in that situation. But, often it's because the biggest units most of the shoots I'll work on wind up getting are 1K lowels. I always find myself looking at the photometric tables for units, KinoFlos site has some purdy looking graphs, but Mr. DiPaola is 100% right; experience and practice are the best ways to learn to the point where you just "know" what to use. If that makes any sense (and even when you don't know for sure, to be able to deduce) But, then again, this whole filmmaking thing IMHO is a life-long process of learning. (My dad used to say he had forgotten more than he had ever known)

AFAIK kodak, online, has a FC to F stop chart for all their films online (one per film) on their spec sheet. http://www.kodak.com/US/en/motion/products...p;lc=en#exptung for example (5 fc for a F1.4 on 52/7218 as seen on the proceeding linked table)

Definitally some very nice shooting in there and nice version of the Imogen (spelling?) Heap song. I especially loved the shot of the girl on the swing (camera attached) in fact the only thing I didn't like was the opening cloud dissolve; but hey, that's just me. Top notch reel.

In terms of post stuff; personally I find the XLS can do with a slight saturation increase and a punch up of the gamma to get some contrast. That's just me, though. As for lighting; any way you can bring in something small just to agument what's around? Give a nice kiss of light to a cheek or fill in some of the overhead's shadows? XL2s make a nice picture. Just avoid using the gain if possible as it'll add in grain. Depending on what you're aspect ratio is, shoot either straight 4:3 or Squeeze mode. Keep the boom mic as close to the top of the frame as you can to get a good SN ratio and you should be fine in post. Also, for a "filmic look," shoot in 24P. that's my 2 cents. a lot will depend on the project and the specific look you're trying to achieve. Best of luck!