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Kenny N Suleimanagich

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Everything posted by Kenny N Suleimanagich

  1. Kenny N Suleimanagich
    I did a 16mm shoot for a fashion brand recently, was very pleased with the black and white results. The references were 1960s-era documentaries with very spotty, single-source lighting. Orwo N74: Expired 7222: Both are 2K Prores 4444 scans from Metropolis in NYC.
  2. Kenny N Suleimanagich
    The EXR was an error that was printed and published in many places erroneously. Everything was done on Vision 3.
  3. Kenny N Suleimanagich
    I posted this in the other thread too, but I would advise you call Handheld Films in NY. They rent Moviecams. You will also need an academy-centered lens mount and Academy/N35 ground glass. I bet Handheld can provide you with all of those things.
  4. Kenny N Suleimanagich
    Luke, did you see "Carol"?
  5. Kenny N Suleimanagich
    You could also upscale the signal through an AJA box (or a simple, cheap component to HDMI box) to a recorder. I do this with my 416 video tap.
  6. Kenny N Suleimanagich
    Bill, I would take it to Duall Camera and see what they tell you.
  7. Kenny N Suleimanagich
    For Moviecam anamorphic stuff, I would contact Handheld Films in New York. In addition to the viewfinder, you would normally have your lens centered for Academy along with an Academy groundglass.
  8. Kenny N Suleimanagich
    Glad you liked it! It was rated normally. Here's another example of 7213, rated at 150, processed normal. Mostly lit with a 1K fresnel and 2K zip light, at T2/2.8 The part where she's laying down in the white room on the windowsill are two bare Kino Flo daylight edison fluorescent bulbs. The artist and director wanted less grain and very little (if any) tones above the mids. So I exposed and lit for a dark falloff to mitigate the risk of low-contrast graininess. This is normally a video I would have used 7219 on in the past. No sharpening in post.
  9. Kenny N Suleimanagich
    I personally find 7213 to be extremely flexible, though I have never printed it, it holds really well at the toe of the curve. This was available light in Chinatown NYC, wide open on super speeds (16mm and 12mm). Almost every reading I took had us under by 1/2 stop. There was way more footage that didn't make it into the cut in even riskier situations that look great. In fact, I would be curious to see how a one-light at 25-25-25 of this would print.
  10. Kenny N Suleimanagich
    I won't argue the point of economy - but I will say shooting on film to get a film look means considerably less time spent in post compared to emulating it. I liked the way "Vinyl" was shot, but even with the Livegrain, I don't feel that it looked like film. Which isn't a bad thing, but worth considering.
  11. Kenny N Suleimanagich
    It's actually quite simple to do post. Looks like you're in the UK, where there are currently two labs running baths on pretty large shows. Kodak-owned iDailies and Cinelab (not to be confused with the US one). The workflow is (hopefully Test) --> Shoot --> develop --> (and if you want to edit/finish digitally) scan. Often labs can do a transfer straight to your choice of format (DPX, ProRes, DNx). The color grading is the same as you would do with a Sony or Alexa. Talk to your local Kodak rep and arrange for a student discount - you'll find them tremendously accommodating. Alternatively, Frame24 is UK based and has good prices including a fully-prepaid package deal. And before you balk at the runtime a roll of 16mm affords you, I frequently work with people who are surprised at actually having shot less than they'd thought and budgeted for. If you rehearse enough, and have a good script supervisor, you'll be fine. Let this site be your resource.
  12. Kenny N Suleimanagich
    Richard Crudo ASC wrote this really helpful guide called "Finding Your Own Printer Light"
  13. Kenny N Suleimanagich
    Emiel, what were your printer lights at?
  14. Kenny N Suleimanagich
    Do we really think the bottleneck to Super 16mm filmmaking is an affordable camera, considering the state of the market right now?
  15. Kenny N Suleimanagich
    David, You wrote in the first post that your finished digital deliverable was made from an IP. I remember reading the AC article for "Hateful Eight" in which they talk about the finishing for the DCP release and comparing it rigorously to the finished print. I am assuming that was a 2K scan that you did? Two questions: did you finish both in P3 and 709 (or 2020)? If so, how intensive was the process doing A/B/C testing to get the digital gamma to match the print density?
  16. Kenny N Suleimanagich
    Here is a helpful tool for understanding field of view.
  17. Kenny N Suleimanagich
    It will probably never happen beyond custom solutions or one-offs. Even the HD Arricam taps are pretty bespoke, and I've never known a private owner's camera to have it. There have been discussions here about Satsuki Murashige's Moviecam Compact video tap, and the possibility to upgrade it. I think with the old style in which cameras had a port for a CCD camera, you could retrofit a modern SDI digital surveillance camera, assuming you could machine a mount that has accurate FFD and can deliver power to the unit.
  18. Kenny N Suleimanagich
    I was going to post the same thing. It was something like 12 miles per week... I bought some stock from them last year and drove down to pick it up. Their archive is massive, and the film storage still had hundreds of cans of fresh stock. They said that the main factor for them switching was the delivery deadline for "Inside the NFL" moving up one day, and it was simply too tight of a turnaround for processing and telecine,
  19. Kenny N Suleimanagich
    Double perf film is near-impossible to come by these days. It's a special order from Kodak and there is a minimum.
  20. Kenny N Suleimanagich
    There are lots of home video releases (VHS, DVD, Blu Ray, VOD) done from scans of IPs; they often have visible grain and deep blacks. At this point, almost anything that can be done photochemically can be done with grading and grain emulators like Livegrain.
  21. Kenny N Suleimanagich
    Almost all rental houses have shipping departments and deal with this on a regular basis. The only thing this compromises is your prep.
  22. Kenny N Suleimanagich
    I'd hesitate to bring too many primes on a documentary shoot, especially a travel job. Some people carry an 85 1.4 of some kind as an interview lens. But I'd aim to use zooms as much as possible. Precious moments can be lost switching lenses.
  23. Kenny N Suleimanagich
    You can't go wrong with those sigma zooms. Just don't cut costs on the adapter...it is essential that it works and works well. Lots of info on this already, but my takeaways working with the A7Sii on docs: 1. Bring tons of batteries. Generally around 7-10 per day. They take forever to charge, so the "dual" chargers are very helpful. 2. I shoot PP7 (Slog-2) with SGamut3.Cine. Expose 2 stops over. 3. Get this eyecup. And a chamois. 4. You need ND. For doc, variable ND is definitely the most flexible. Schneider's is in my experience the best. Tiffen a close second. They're great cameras, but not without limitations.
  24. Kenny N Suleimanagich
    1.66 is the native Super 16 aspect ratio, 1.78 is HDTV
  25. Kenny N Suleimanagich
    Thanks! Tyler is right, it is definitely out there. And you definitely have the light levels with 500T. I would have shot it at a T2 if the stock were fresh. The thing about concerts is you don't need to dig into the blacks - most of that type of lighting is very low key and spotty. So to get the same effect you can essentially let those lights be your midtone. The lenses were Super Speeds - I stayed on the 16mm. In this case the label provided us with the live mixed track. I synced to the opening vocal, which was cumbersome, but took 10 minutes per track to nail. Yes - Arri 416. But I guarantee you I could have shot it with a 16S and got a very very similar image.
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