ryan_bennett

I realize DVCAM is pretty close to Betacam SP so what do you guys think about transfering to DVCAM instead?

The specs and all that you can just find on fuji's website that'll tell you about hte lattitude. I shot on 8663 the eterna 250D and I was off accidentally by 4 stops or so and I pulled it one stop and it looked fine on the transfer. Contrast well light the set/actors with contrast and when you transfer it let the colorist know or do it yourself to pull it out. Why are you forced into this stock, because I'm getting a weird image of people cramming it down you.

Watch Fellini: I'm A Big Liar, then you'll really see what O. Russell did was nothing compared to fellini. But Russell, I can't believe seeing this because you really don't get a bad vibe from the movie.

I only suggest lower because I had entertained the idea of selling my own K3 and when I went on ebay there was a whole lot just sitting on there with no bids and even more that can be bought now for like $200. I wish I couldtell you what price to set exactly but really, look on ebay and get a feel.

I thought the same thing! This happens and it sucks. Also did you use a matte box or like flags, etc?

PM me with some details, such as is it that price for everything or what. Thanks.

The cool thing about filmmakers is not also making but the community. To patent something like that is against the community. Ya, you might think up a genius idea and someone could take it and make it crappy or make it into something amazing and just explode but hey, that's how things happen. Think about how the french new wave would be if they didn't use some material or made homages, you can think of a million things.

What do you think the film shutter does? The question is whether the projection of a video image would cause problems on the screen. Are you projecting things off a computer? Then maybe you can full around with the cycle speed or whatever it's called. Personally you need to run tests and maybe fool around with shutter speeds, especially if the actor is just staying still or something.

Also depends on the weather, etc. The other day I shot on 250D because I didn't think it would be sunny - well, it was. The meter was reading 45-33 so definitely, if you use 250D make sure you bring some ND's. Personally, after that experience, I would use 50D, especially if the shoot is earlier in the morning.

So you replace all the fluorescents in the room to match daylight, just curious what bulbs you used? Also, did you use any fill because I'm working on something using the same stock and camera but thinking of using a light CTB just to even some things out. PS Looks fantastic. Thanks!

Uh, thanks for the advice, I think it was more or less because of an offer they have from students, I was a trifle bit confused that has been clarified for me... ya. I think all labs will make a mistake once in awhile and will use DuArt, I heard amazing stuff from all labs and heard just as much bad. He should've been more specific or send the exact tape stock. It's like the people I know that complain about certain lab (not mentioned here), they under/over expose, send no notes, no communication to the lab, get a cheap transfer (not supervised) and don't even shoot a chip chart and expect miracles everytime.

Dude, you really are in big trouble, what if you need re-shoots, or god forbid something else goes wrong... There's a lab near where you're located thats your best bet, I can't remember it's name find a phonebook or something, good luck.

Back light or side light. It worked for me but effectively we just lit the area then tooled once in awhile for the actors.

You can find 50 foot carts of 16mm on ebay and also at java photo I believe. You can get double perf, just order directly from kodak or fuji and specify it. I never had a problem but if you're serious, just upgrade your camera or rent, it's easier.

Matthew once again what makes the colors, the film stock or the decisions of the you make in the colors used in the scene you're filming? Certainly there's a degree thatt the film stock effects the colors, but what you have on your actors, the background etc. that's all on set in camera, plus you can manipulate colors, saturate or desaturate in post. Have you looked at these links? : http://www.kodak.com/US/en/motion/products...tive/5247.shtml Learn how to read curves to find a stock that matches it the closest. 5247 is a 125 speed stock, fuji currently has a 125: http://www.fujifilmusa.com/JSP/fuji/epartn...roduct=41075313 I wouldn't be surprised if what you saw was actually a 16mm print or a 5 minute or so "teaser"/compliation reel on super 8 and not 5247, not the whole movie, something not unlike this: http://cgi.ebay.com/STAR-WARS-SATURDAY-NIG...1QQcmdZViewItem Even though it would be super 8 that would be a whole buttload of reels and super 8, 2200 feet of film for a 110 minute movie... Shoot, learn, experiment, shoot and learn and just keep repeating. You'll get the look you want but you need to learn and fail/succeed a few times. It's not the stock, it's not the cameram, it's what you do with them and what you capture using these tools.

You put the lime in the coconut - Sorry I couldn't help myself. Try testing the film and if you need more help type k-3 into the search in this forum.

Don't use the built in light meter, buy an incident light meter. Now in terms of exposure, you hold the light meter up and take a reading on whatever subject you want properly exposed in the film, if you're using black an white - the incident meter will put that in the middle, 18% gray. You really got to buy a roll and experiment, that's the only way to learn.

Why is there no comment on the presenter of the award, I think it was Gwyneth Paltrow or Cate Blanchett who said "anyone with a cell phone is a cinematographer and can upload onto youtube". I think that sorta damped things. Plus who was it?

True, is what Matthew likes, is it the stock or the aesthetics that the Director, Cinematographer, Colorist and probably another huge team of people including the Art Direction?

For my next project I'm pretty much sold on a DuArt processing and telecine and wonder if anyone has any thoughts or suggestions. Thanks.

Ya it's pretty funny, I used to do stuff like this but the sad thing is you're doing better looking effects than I did years ago but you have less of a grasp of the camera, what is it that you thinking about doing in the movie industry? Plus did you mask the frame into that ratio afterwards, because it's just awful and cuts the bloated/distorted image. Claiming you shoot on 8mm tapes isn't really an excuse for no tripod, just get a cheap one and it'll add just a bit more to your stuff. Keep trying though and practice shooting, composing, and editing! Besides just get something like this like you can get at walmart: http://cgi.ebay.com/Kodak-lightweight-54-i...1QQcmdZViewItem

Just curious around when you sent your footage because I know things at Cinelab must get hectic with Emerson, BU, Mass Art and other schools with film departments, basically all their students sending their 16mm over there at the end of the semester, clogging things up.

Ya I don't mind grain, but now you got me curious to see it I think I got to run a test on this for sure.

Now I'm going to have a similar situation, big fluorescents and windows which for the set is supposed to be a studio producers office. My idea is to shoot using Fuji Reala 500D, any thoughts?

What I don't understand is you said you're shoothing this on 16mm but also mention the HVX200? Whichever you're using, for dear god, don't shoot chroma, it won't look right at all. If you want an all black background why don't you shoot with an all black background?