Fredrik Backar FSF

Hey there, shot a few vids for Miike Snow on the fly a couple of months ago.

Here is the result of one of the weird little numbers shot in about 8 hours down

at DC-stages LA :-)

Cheers

http://www.fredrikbackar.com/#miike_snow_paddling_out

All flasbacks exept when the girl runs down the studio Hill. The scene with the old nazi showing photos. Most of the opening. And a bunch others.

Cheers

I haven't seen the film yet, but is there any scenes in particular I should recognise as what you shot? I really liked your commercial work, looking forward to seeing the work you did in this.

Hey guys, I don´t post so much here but read alot I do. As some of you have already have said, sometimes things just don´t work out

between two people. I did my six weeks of shooting and then Jeff went on from there. All my stuff is in there still,

but the credit bit eludes me though.

But hey, No hard feelings, it happens.

Cheers

Swede as I am please look at Lulius Jaenzon, I guess the biggest stepping stone in Swedish cinematography. Some 100 films over 40 years with The Phantom Carriage at the top of the mountain (1921). That film just superseeds anything cinematographically from that era, true wizardry with what was at hand.

Around these days I hold Savides the highest absolutely, the range that man has shown during his years is amazing.

From Romanek - Madonna´s rain - To Jerry and Elephant to Birth.

Deakins has fabulous moments.

I do also find myself watching films on television every now and then that look amazing, small films with people never heard of, so I certainly the world is full of amazing DP:s that are never heard of really.

Hi all! desperately in the hunt for the de-squeezer anamorph unit for the kish ultimate finder.

Any suggestions or does anyone carry one for sale?

all best Fredrik.

Fredrik Bäckar FSF

Svankärrsvägen 8A

S-75653 UPPSALA

SWEDEN

Agent Sweden: www.magnoliaagency.se

Agent Germany: www.estherkurle.com

Cell: +46 70 635 65 34

Sweden´s been real good both 07 and 08 at least for me this far (nock on wood).

It´s all in cykles for people I think, with no real logic to it.

But rumors say that europe is slow right now in all really.

Yes I too am wondering about the storage bit. probably the old 200 exr if anything could be the only thing to make it in longtime freeze, and then maybe in combination with the 79.

That would probably be a nice mix.

A nice rumour to ponder over though :-)

Lets wait till the AC about it comes out and see :-)

On a new note, as discussed in another topic, I am almost certain that they are shooting exr for the new film.

As I was looking for exr for a commercial throughout the world a year ago, I found out there was a very large freezer storage of it ear marked for an up coming production. So I couldn´t get any. And I naturally thought; the next spielberg Indiana Jones thing is of the kinda budget to realise such a thing.

What do you guys think??

No probs on the light :-)

The alpha is a wonderful light!!

As I said, human error was our problem it turned out later.

All best/Fredrik

Just to put more clarity into the fact; these situations with varied shutter angles are tricky ones where one should procede with caution and strange things may happen with any brand at any day.

I have used the alpha 18k to success in these situations also and on the aformentioned shoot there was human error involved and not equipment error.

I just wanted to clarify that it is a trick venture where you must be very meticulous :-)

if you venture over 100fps things might start happening. I speak from experience. It seems not all ballasts hold up as they should. On my shoot it was an alpha 18k from K5600 that gave flicker at 100 fps 90degree angle... so be a bit causious.

I´m very sure it´s not BW. skintones suck. And the colored window supports it too I guess.

Saw the wainright version on youtube. Beautiful magritte video! And it is Dakota fanning in it no??

Sorry sir..Heat was Michael Mann's best.

I beg to differ :-)

Insider is a feat of movie history at the top all films made; in my eyes.

cheers

Hello all!

I am the proud owner of a laserdisc edition of Michael Mann´s The Keep.

A film of utter beauty and mystical feeling where Mann is at his best ever!!

I know there´s been talk of a aniversary edition DVD for a VEEEEERY long time now but nothing seems to have happened after Paramount postponed the release date 2 years ago...

So to my question; Does anyone have any news about this release? I would love to see the Alex Thompson Cinematography on blu-ray really as the analogue beauty laserdisc actually surpasses most DVD´s in quality! (at least on my pioneer plasma :-) )

There is supposedly a 180min dir cut also, and an american television version of it with a longer ending.

Any info appreciated!!

Here´s a great link to browse :-) http://www.the-keep.ath.cx

All best/Fredrik

The opening and the jazzbar scenes(35mm) in collateral hit me in the gut after having the rest look like an episode of cops - and that statement came from my girlfriend who cares and knows just about nothing about the gathering processes of film.

Miami vice lost me at hallo......

The shots on vid in Ali didn´t make me crinch so much as I felt they were incorporated in a more meta fashion, conjuring up a feeling of immediacy and documentary outside of the story in quite an appropriate way. Hope that wasn´t just by chance :-)

(Otherwise I hold The insider as one of the best shot films of all time; 100% forward push of the script and characters in an inventive and unobtrusive way; I didn´t understand how good the cinematography was ´til the second time I saw the film. 1st time around it was just an experience. I would even say one of the best films ever made.)

My major opposition to digital right now is how it does NOT make the world a more painterly overbeautified place, but rather depicts to you the world you wake up to every day. In the cinema that´s the very same place I wanna leave for 2 hours....

And, having made tests on 65mm a week or so ago together with "audiris" I´m even further from agreeance with the digital realm and that´s not discussing resolution.....

I recently read about the "mirroring neurons" of the brain in a large italian study - look for it on the web and I believe you´ll find out more about where the subconscious comes into play in differing between vid and film.

But, that said, any format is good if used right and by people who know how to use it. "The party"(Festen) for instance on the pd 170 i believe. Fantastic.

But the feeling of reality that the format gives you is what it´s all about there etc etc.

all best for now :-)

Biggest question of all. Are you going to DI or straight print? In that case what print stock etc?.....

If DI which I´m guessing it is you are so ok you wouldn´t believe especially if you are going for some contrast (2 over is not much on a head with hair...)

Find your "wanted" incident stop as key, and if you then spot meter a bit your total whites should lie around 3,5-4 over your incident key.

cheers

The dance hall looks alot like spacelights. As for the hangar scene I think it looks like huge wendy-rigs through light diffusion.

A true tungsten video for sure!

If you want a Swedish twist on the musicvideo biz, the budgets here (when I stopped making vids) was around 1000dollars!!!! With the same expected output in the end quality..... Media students have become the new in thing for record labels to fool in to making vids for free. then there is I think two more actual companies making videos here. It´s pretty much dead....

I´ve been using Arri -X lights through heavy diffusion alot. works very well when in need of high output!

I second the Mullen.

Been using vistabeams alot lately. they carry a really long way.

HI!

Had a discussion in the HD forum about the phantom and flicker with HMI´s a while ago.

Have now completed two productions on the european 230volt 50Hz net with HMI´s and not experienced a single flutter of a light even at 2000fps.

Seems like the 60Hz net in US is a problem somehow even as the flicker free setting should produce a square wave at that hertz too...

One could though with the internal monitoring system of the software detect a slight pulsing change to the red and green channel (blue was totally stable). This was however to way too slight to notice on screen by eye at all.

Well, now you all know any how :-)

All best!

Meanwhile have a look at the IKEA phantom commercial at

http://www.magnoliaagency.se/portfolio-fredrik-backar

(tungsten)

By the way Fredrik, how did you avoid flicker in the small practicals mounted above the mirror? Were they DC powered? Just lucky?

As all shots were lock off, it´s been done as plates, all the window stuff is green screen :-) Lotsa post work!

BY THE WAY! At the bottom right corner of the frame it says "byt sovrum" meaning change bedroom in english. Click that and get 3 more films.

All best, Fred.

Hey again, I also shot this far back on the NAC memre cam at mostly 2000fps.

I had a 2,5 hmi in a chimera and some straight 200hmi´s. I had no probblem with flicker on the larger unit, possibly because it was throught the chimera, but the 200s I only got flicker from a few times. Any good links too look this up more on??

All best!

Looks good.

 

We always use tungsten sources, never HMIs because of the above, the arc wander (and flicker). 5k and up tungsten is the best bet for the most part.

 

We rarely correct the tungsten sources when working with the Phantom because the RAW files it makes has so much information that we can white balance well in post (for example, see the link in the bottom of my signature).

 

Kevin Zanit

nice films!

So hmi´s flicker even at normal even divisible speeds?

at the 1000fps with the correct shutter set which would be 1 millisecond I experiensed videomotion but as I made it faster the better it got.

Where do you generally end up? Also, to control exposures, do you do it by eye or the lame vectorscope in the software??

On the set of the ikea I had 2pcs wendys as key and some 4pcs 12k fresses through grid as fill and a 12k for back. The video high lights are still a problem I think, so any suggestions on huge source with immense power???

Question: Who knows of any old freeze storage of EXR filmstocks available??

Some time ago I was looking with the help of Kodak for some EXR and was told there was a large freezestorage of such somewhere in CA but ear marked for a specific production.

Next question; could it be possible that Kaminski and Spielberg are using just that one batch the new Indy film??

:rolleyes: