lucas Loureiro

My Camera package and me are up for a feature in August. The film will be shot in the US, but the process and transfer will probably be done in India. This has lead the production to be concerned about using 3 perf.

What are problems they may encounter in post, if they shot 3 Perf?

What type of telecines support 3 Perf?

Any known labs in that area that could do this for sure?

Lucas Loureiro

O'Conner 1030 B with 55L carbon fiber 2 two stage legs. Huge range on the legs makes

the need for baby legs almost inexistent.

$7000 for full set.

SOY CUBA

SOY CUBA

SOY CUBA

closing down your shutter would counteract any blurring you hoped for in the first place!

Hello Boy

I agree with you. The smaller the shutter the less smooth the movement looks like(less blur).

I was thinking that because there is so much movement behind the subject, the choppiness would

give the image a perception of blur and help take down my light level with out the

need for much nd.

I know it sounds counter intuitive, but I was wondering if any one has done small shutter and

slow FPS. Any way I will do the shoot on 180 and try out smaller shutter and post the

results soon.

Lucas Loureiro

She's still going to be sped up too but by slowing her down x8 that should put her in the

range of normal motion, one would hope, but to get her to look slow motion as in your

post title, you'd want to slow her down even more. The usual big problem is that when

doing this and attempting to make the girl look normal or slower than normal in a crowd

of everybody flying by is that the girl may appear to have jittery, jerky motions that look

unnatural.

 

If possible, maybe you can minimize her movement. Having her stand still may avoid you getting

busted when she walks like a marionette.

 

Also, maybe you could shoot her walking at 24 F.P.S. with cars flying by and then when she

stops switch to 3 F.P.S. and cue your pedestrians to walk through? Good luck.

That is very good advice.

I think her moving at apparent normal speed is going to be good enough for me.

She is a dancer and I have seen her walking very slow with out any abrupt movements.

I will try doing the ones with her standing still also.( with very short ends @ 3 FPS this will the cheapest project I have done :D).

What about the shutter angle?

Thank you for your reply Tim.

I will be doing a shoot of a girl walking along a downtown street.

I wanted to have this girl to walk at normal speed and everyone else flying by quickly.

I was planning on shooting at 3 fps and having her walk 8 times as slow and try to time that with a stopwatch.

Does this seem suitable?

Would any one suggest any different speeds?

Would a 144 shutter angle help with the blurry fast speed effect?

Hi

Assuming 1/48 sec. shutter speed, at 50 ASA, I get the following results from my meter:

 

Lux ----- F-stop

258 ----- 1

516 ----- 1.4

1031 ---- 2

2062 ---- 2.8

4125 ---- 4

8250 ---- 5.6

16500 --- 8

33000 --- 11

66000 --- 16

Thanks Mike, that helps me out a lot.

Lucas Loureiro

I am trieng to find a lux to

f-Stop at 50 ASA

Thank you so much to anyone that

can point me in the right direction

Lucas Loureiro

Sorry about that. :)

Hello Alessandro

What do you mean by dampening?

I am reajusting a leather barney for my Aaton III

The one I have know is vey good for hand held, but

when I take the bottam part off to work on the tripode,

the noise slips out.

Lucas Loureiro

I am planning to travel at the end on this month and to shoot some stock footage.

I own an Aaton III, which weighs about 16 lbs.

Is it possible to take it onboard with me and what is the limit of a case to be taken

as a carry on???

I have no idea. I'd send it back to the rental house pronto.

I own this camera package and I plan on having this mag checked out on Monday.

I have 5 mags so we should be fine, I would just love to get some ideas on the problem.

I am working on a feature with a Aaton III. I am having troubles with one of the AL-X mags. I am loading properly and cannot figure out the problem. I loaded a dummy roll of Kodak and it worked fine. I reloaded the Fuji we are using and when I try to shorten or enlarge the loop, it starts to eat into the film and miss the perfs. I have used these mags endless times and have never encountered this problem.

Any Ideas my friends???

Exactly, but there is nothing to be gained by the optical process, unlike a DI!

Stephen

Hello Stephen

I understand what you are saying. D.I. has tremendous advantages over optical.

Optical would cost money and lose some quality, but there are some advantages. You can save some money during the first part of production (I am just talking about theoretical projects), you also are gaining with a faster workflow, important if you are on a small crew.

So I understand you saying that it would be better to just shot on 4 Perf, but I am just trying to see the deferent options for a project that started out with very little cash and that for some good fortune get a chance to be distributed theatrically.

Lucas Loureiro

Well, the optical printer loss from going from a 3-perf IP to a 4-perf IN is no different than with 4-perf Super-35, since both the 35mm 1.85 and 2.35 projection formats use less than 3-perf's worth of negative information anyway.

 

I heard that the German movie "Downfall" was shot in 3-perf and optically printed to 4-perf for release, so ask whatever lab did that work for them. Technicolor Labs can do 3-perf to 4-perf work too -- they do it for Storaro and his Univisium format afterall.

 

Recently, "Munich" was blown-up from Super-35 to anamorphic using an optical printer, not a D.I., although that was 4-perf. "Capote" was also an optical printer blow-up.

Thank you so much David

I knew that some one had to be doing this type of work.

Fotokem told me to day that no one would do an optical 3 to 4.

I will try to find out about Downfall and some prices, if you are

interested I could post what I find out, just for the curiosity.

Lucas Loureiro

Hi,

 

I don't think you will save any money by shooting 3 perf, and with a loss of quality from the optical stage, I don't see any point!

 

Stephen

Hello Stephen

Thank you for your reply; I am just trying to find out if anyone does this

type of work. I just want to be as well informed as possible.

Hello everyone

I am trying to find out if there still is 3-perf to 4-perf

Optical transfers being done any were.

All I hear is DI, which I know and understand, but I would

love to know if there is an optical option out somewhere.

Lucas Loureiro

cinecamrental.com

I was shooting with a xtr prod today and we had a pretty big problem. The camera was and still is shooting with the test bottom. The mirror was stopping on test so we could not see the image, which was fixed after I split the two assessoris into two batteries.

I was not able to fix the test problem.

I would love to know if anyone has any ideas and what would be the best way do check the gate if there is no repair

Thank you,

A director I am working with right now is convinced he wants a particular effect.

He wants to shoot a scene in HD video, edit, project the scene and shoot that

projection with 16mm or super 8. He tells me it should give this eerie out of focus

coming into focus effect

I have never expermented with this and would like to know if anyone has.

Also if anyone has any ideas of getting that feeling with different effects (netting, Vaseline,

Tilt lenses) please let me know.