Vedran Rapo

This is becoming a small, too small world :) Thank you, I have 2k scans but I am not sure how to export them from Color. I am getting small 600px over-sharpen too grainy jpeg-s. I'll put them here for now, until I figure out how to export full resolution picture. Both director (she shot a movie prior to this one, few months before that got Academy award nomination) and myself wanted to do it on film...there was a great opportunity for that to happen and we took it. Well, budget of the movie. This is a bit strange story, whole movie costed about 4000 dollars. Oh you will ask, how to fit all this in only 4000$? We got a great deal for camera and lenses package and stock, for free :) Key grip and his best boy got their equipment for free for 3 days we needed them. Developing was bad, but free. Maybe that was the biggest problem. Lets say it his way, those digital, at that moment in Croatia were (even at the moment are) more expensive than 16 (with 16 you have other problems). In Croatia there is no SI-2K, Red goes for 1000 Euro/day, F900 goes for about 900 Euro/day... and we managed do shoot everything for 4000$ :) Here are those small stills that are over-sharpen and to grainy (is it because of down-scaling?) If anybody knows how to export big ones, please help. Scan 1 Scan 1 with auto balance option Scan 2 Scan 2 with auto balance option Scan 3 Scan 3 with auto balance option Scan 4 Scan 4 with auto balance option Scan 5 Scan 5 with auto balance option

Oh yeah, this looks very nice, I love this circular stories :)

Woooh, I have to say, this looks great. How long was the shoot?

Most of the film was shoot with Zeiss Mk. II set of primes, overhead shots of the table and bed were done with Angenieux HR 10-120mm (converted to S16). That is just because of the rig, it was more practical to use zoom. I was a bit afraid how will this Angenieux hold up, first of all, because it was converted, and because, for the table show I was using it at 10mm, and i didn't have chance to test it before the shoot.

I've seen 2K scans today, and I have to say I AM AMAZED, how good they look. Tomorrow I will try to export some stills from Color. Thanks for reading :)

It is shame i cannot see anything on HULU :(. It is still not supported here ... :(

This looks great i have to say!

seams nice, what lens did you use? tell us more how you lit it?

Thank you, here is the on set photo, of the rig for those overhead shots, one for the kitchen table, other one for the bed. I am really amazed how good art department, director and myself were working together. I believe lots of good things came from long and good planing. Only mistake we made, with witch I was not completely satisfied is that blueish thing on the kitchen window. It was not really working for the night scenes in the kitchen. I'll get the stills next week, till than, you are right, this stills look awful, they were recompressed three times ... mpeg --> cinepack avi --> jpeg Talking about grain, I was really surprised how grain looks good on 2k scan (till I get to them, you will have to believe me) here are 3 more photos and this last one is from the sequence you like :)

If you have any questions be free to ask :)

Those last three are the beginning, middle point and the end of an 90 degree dolly shot.

Hello, for a last few months I had a chance to work with one great team on a interesting project (short feature). I gained lots of new knowledge, especially how good planing is very important. So, I decided to share some of those experiences with you here. Working with director Dorotea Vucic and a producer Barbara Jukopila during the planing and preproduction was a pure joy. We held meetings every 2 days for a month, and every day for the last two weeks. Also it was a great joy working with our lead actress Mirjana Karanovic, who is very experienced actress well known in this area. Later I'll come to my technical crew who were all really, really great and did their best. The movie itself is about a lady whose husband dies just before desert, and she find herself in a situation where there is nobody to cook for. Her husband is coming back in her dreams and asks for more deserts, until one day she finds a "friend" in a small neighborhood crook. First of all, as you can see, most of things are happening in her apartment. It was very important to find a nice suitable (big) apartment that we don't need to change a lot (budget). We went on a few location scouts, and the last one we saw was just what we were looking for. After we found the apartment, we got Ivona Malcic on the project as a art director, to make as much as possible without much money. And, i believe she did great. We decided to film this movie in s16 mm (that later showed as a big problem when you don't have a budget). I also decided to use new Vision 3 500T stock as, to be honest I wanted to test out the new stock. I had 10 rolls of 400' of 500T, roll of Vision 2 100T and one roll of 50D. Plan was to develop negative on Croatian national television as they are the last lab in Croatia that still develop 16 mm film. Telecine was arranged in ALKA Film, also here in Croatia. Master was afterwards supposed to be on DIGIbeta. I went over all locations with my gaffer to try and make the smallest light package as possible (for interiors) because we had no power for exteriors. In the end we menage to put together a really small package (Barbara was very happy with that). The shooting itself went very nice and smooth. It was a 5 day shoot with, like I said, small crew. First assistant Ranko Mitic and myself were working great together, gaffer and electricians did great job, and had no problems as we planed everything in advance. Three days we had access to all dolly and grip equipment we needed. Guys from GRIP FILM and one of the best key grips in Europe Josip Siladi, made an awesome job. After a great shoot, problems started to show up unexpectedly. Biggest of them was that lab had a problem and they made a mess of our negative. Only solution was to do one light telecine, edit it in Avid or Final cut, export EDL and put it to scan and clean up negative digitally. As most of you know, DI is still very expensive, and our budget was nowhere near to cover DI. So I went and beg for some time and kindly, Jozo Patljak from Alka Film accepted to help us. Few days ago, negative was scanned in 2K on ARRIscan. And I have to say it looks great. This week we are starting color correction on Baselight and Apple Color. I still don't have that high resolution material so I'll post some frames from one light (no CC) telecine just to give you sense what to expect. :) Next week I'll post some high resolution photos. You will see, on this stills, there are some interesting rigs and camera angles. I overexposed 2/3 of a stop whole material (except 50D) just to get those nice blacks. These photos are low resolution and compresed with NO color corecction One of the night exterior POV This was a very interesting rig

He is really a nice guy. I met him two months ago on a Cinematographers workshop in Zagreb, Croatia. He was with Bill Butler, also a great guy, and great cinematographer!

www.vedranrapo.com

it look very good. NYPD and scrubs, two of maybe my favorite! Vedran

all best from Croatia, David. !

and what did you find out?

it seams interesting, i would like to try it. definitely!

It is very nice, i have to say. I suppose it was a great experience.

Neat Image, is well known grain reduction tool, from the photoshop days :) I really didnt know they made a Video version. Great!!

Hello, i live, lets say, very close to sarajevo. if there is any way i could help you, be free to contact me.

Vedran Rapo here it is

Arri is based in Munich, Türkenstraße 89, D-80799 Munich they can give you all you need.

here is a link to my web page, where you can find my showreel. if you are interested in collaborating, be free to contact me.

got my iphone 3 days ago, will sure try the application:)