Fredrik Backar FSF

U do have alot of gear=) But hard to mimic balloon though I think... As said, try to get the smaller units up high as back and maybe bounce the larger into silks as fill and keep them low. soft and edge at same time if that´s what you like. Good luck !!!!

Please feel free to protest this number as I cannot confirm it right now with tech authorities from kodak. Hoping for Mr Pytlak to have an answer to wether the calculation seems right or not. Take care! :)

Just finished printing a film shot on 18 and 46. 18 rated at 400 and 46 normally. As for grain... no difference that I could see of any greater meaning. The two cut perfectly when you give the 18 some more light and up its con a bit. In telecine You are better off to keep a normal rating though, since everything is post anyho. And the 18 is a great telecine stock!! I did however rate it at 250 once when telecineing and that looked as close to 35 on a monitor as u could be. That goes for the Fuji 500t also. :)

Shot a film anamorphic using the 18 for interiors and the 46 for exteriors. Rated the 18 to 400 and the 46 normally and they matched very well endeed on the screen. On my part, the budget has many times been an issue as to what filmstock to use and the 18 was a "producerfriendly" stock. PLUS it looks very nice too when its look is wanted. Fun trivia: Right after seeing the print of the film above, I went to see cold mountain; A true grain feast it was I think. The 500 + DI on wide exteriors was not a pleasure to see... And, does anyone know of why there is a scene in the opening battle of the film that looks like Super-8?? Digital zoom??

Have anyone had time to do their own tests of the new vision2 stocks yet? Going to demo om the 16th here in Sweden, not expecting much from what I´ve read here so far. Would love some info. test here are a sucker to do without tons of cash.... Take care / Fredrik.

Thank you David!

Quite an advanced scaner for that then :D

As said, the calculations were made by my spouse and as I understood she calculated for an exposed density resembling that of 18% gray taking then average ammount of cluster forming in consideration. Number is very high though now htat I think of it. Thank you anyho windman :)

Shooting music video using lots of 50fps and 75 fps shots. What are the safe speeds for kinos and divas?? Many thanks in advance!!

Recently posted a question on what stock to print a film on. Was at the lab (COLOR BY DE JONGHE) able to see a blind test of print films. My decision fell upon one that was completely neutral in tone, had wounderful powerful blacks and still perfect shadow rendition in the 4 under areas that I was so worried about. the other stocks couldn´t compete really, not saying that I couldn´t use any of them on other projects with other intentions. And what was this stock you ask=) AGFA! When I asked about this in Sweden the reply was that AGFA probably didn´t make motion picture stocks at all anymore.... This was new to me really. Has anyone alse out ther tried the AGFA print stocks? Was told that Kubrik was an "avid fan.." :D

Used Hawk anamorphics on a film. Did a scene at 2.8 50mm on the 5218 and saw nothing abberative in the lens performance.

Hi. As a fun thing, my chemist wife calculated the amount of lightsensitive particles per layer in a vision 200t emulsion. She arrived at the conclusion after some brainstorming that it numbered a total of 1000 000 000 000 000 000!! That´s 18 zeros!! If this is directly comparable to the pixels per inch discussion it seems to me hte digital technology has a long way to go resolution wise to catch up. MR Pytlak: Does this seem as an accurate calculation? And; does this compare in a direct way to the digital pixel as light sensitive points? Take care/ Fredrik.

stepped on a toe?? :) Just mentioned it because I used it not long ago.

I am soon grading the print for a film made with kodak 250d and the V2 500t 5218 on Hawk lenses. The whole film was shot corrected half blue, and it delves into darkness at 4stops under in a scene set in a snowstorm. A scene which will be brought up a bit to get a gryish mesh of action and an actress looking very ghostly amidst it all. There are also a few scenes that go to 4 under from normal to one under in exposure. Now, taking into consideration that this film will have a muted colour pallette and wants black blacks yet keeping slight defenition in the chosen 4under areas, is the fuji 3513 di a good choise?? I have no time for tests and have read about this stock leaving me with the assumption that it is my best bet as falling inbetween the vision and the vision premiere.... Thoughts?? :)

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the Sony dsr570 s also a great camera if you tur off all the detail switches.

Did see something recembling that and didn´t like it at all... Probably why i´ve supressed those memories :D Haven´t seen an appropriatly lit horrorfilm since the exorcist I feel. However I loved the film "Dark Water". Fredrik.

Recently shot a music video where we were looking for a good way of presenting the artist in a way that was making us feel "that something was wrong", despite the picture it self looking nice. So, I came about framing the person just off where one would normally place him in shot. The end result was a nicely lit image but troublesome to the mind subconsciously. Worked very well. I would say that cinematography -to me- is something dealing with carrying forth emotions on an subconscious level to the audience. Like the way an actor would look in him/her self for a moment in his or her life that recembles the moment to be played. I believe that anemotion on film is more poignant if the audience in some way can connect to it, through having lived a similar such. Therefor, a scene in say, a horror film becomes more effective if the atmosphere in which it is played has the notion of reality through cinematography. In the midst of all this believable comes the horror and, oops, we belive it! Ofcourse all the other elements; acting music and so on share in this. Bottom line, I find that cinematography should start at the heart of the script and vision of the director. Be a means of transport an amplification of emotions and story. Therefor, I can not say that anything can be called right or wrong in specific as all films are in deed different entitys that have different needs to function in the right -or mind you- wrong way. Hope I make sense :D Fredrik Backar.

did a tv effect once where I let the flicker highlight go one over which I thought was too much after the fact... Norm exp for highest flicker probably would have been the best as David said. Having the normal tv-tone at one and a half under was ok though I thought.

I was comparing to using a 35mm cam... Ofcourse I know that focallength is always the same and the format changes how much u see.... I just got confused :)

nevrmind what I just wrote!!!!!! :D

I may be out on a crazy thought here.... But I´ve shot videos like that a few times, and I always have to -on theory- double the 35mm lens mm to know what I´m putting on the camera in 16 terms... The 50mm superspeed gives me a very good telephotolens character... would say about a 100mm or so. Shouldn´t the lesser image in s-16 read a lesser area of the lens and give a "tighter view"?? It seemes like it to me..... Could I be crazy or have I just missunderstood the dialogue prior?? I am from Sweden u know :D

I´d go for Serra this time really. Thought it felt like Toll was struggling at times with the "samurai...". Even though I couldn´t have done it better ofcourse, one must share the oppinion :)

7218 no question! If you are going to telecine you will have all the control you need anyho... You will be amazed at the shadow detail of the 18... But why the high stop?? I like nite at around 2, a very "inexpensive" stop, counting the electricians backs into it also

I second that Audiris.... As he was our inspiration source at times too :) Must see the film though... not out till 23rd of august in sweden.... Liked look of seabiscuit. Saw a prestine print alone in a theatre. Long shots and skin tones don´t work with the DI I feel. Otherwise very nice work!! Fred