Kara Stephens

We had dvd dailies, but unfortunately I don't have them so I can't post a picture right now. I've used SR3's many times in the past and have never had an issue like this. Normally when it's a camera or mag scratch it's fairly consistent throughout the whole mag. Also one of the scratches was with the B Cam, so unless this is a common occurrence with these cameras that I don't know about, I doubt it's the camera. Although never say never. Thanks for the thoughts Kara

I just finished shooting a super 16mm film that had quite a number of scratches and I'm trying to figure out just what the problem is. On 5 different rolls we had blue scratches. I've check the mags and they have been on 3 different mags (we were shooting with and Arri SR3). I've also checked the emulsion numbers and it's from a couple of different batches. And the scratches occurred on different days over a two week period. The first time it happened we had a quick squiggly looking blue scratch that lasted for about 1 second. On that day we had one scratch on A Cam at the end of the roll, and one scratch on B Cam in the middle of the roll. Both were squiggly and quick. A few days latter we started had a vertical blue line that lasted a couple of seconds before disappearing. The other two scratches were also vertical blue lines that occurred a couple of days apart. Any ideas? Is it the lab or the camera? So far I've only seen this from the transfer - I'm still waiting to hear back from the lab if all of this is indeed on the negative. Any help is appreciated. Kara Stephens DP

Are the head and legs still for sale?

It's actually 4' wide, 7' long and 4' high. I'm thinking now of hanging kino's through light grid and removing the ceiling, and then having a 2' 4 bank kino for some front light (or 3/4 light) and some negative fill. The set is meant to be bright, bright white, but I don't want things glowing.

I have a shoot coming up where the entire script take place in a 4 x 7 x 4 white box. I'll be (hopefully) shooting on 5217. The walls and ceiling will all be able to fly away in order to fit camera and lights. My thought was to hang chicken coops or space lights from above, and then bring in an Image 80 or 4x4 Kino's for when I see the ceiling. There will also be 4 bare bulbs on the floor. It's been a while since I've shot film, so I'm a bit nervous. How many stops over skin tone should the white be? And how many stops over should the bulbs be so they look like they're working but not blown out? And if anyone has a better lighting idea, I would love to hear it.

Nothing ended up working. I tried different color balancing, uv filters and a combo of both, yet the blacklight bulbs still appeared green. I could make the whole world look magenta but the bulbs were always green. I ended up using cool white tubes with a heavy purple gel on them to make it look like a black light. Weird.

thanks, I'll try the uv filter and the color balancing and see what works. Kara http://www.karastephens.com

I tried shooting some black lights on my xl-1 (tungsten setting) and they looked green on the monitor and through the eyepiece. Why is this and is there anyway to make them look purple on screen and still have them be effective? I'm trying to make a painting glow that was painted with flourecent paint. thanks