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Matt Sandstrom

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About Matt Sandstrom

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  • Birthday 09/07/1973

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    Stockholm, Sweden

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  1. if you polarize the eye light and then filter on the camera with the same polarizing axis, that should let the specular highlight through while cutting a stop from the diffused face reflection? i haven't tried it but it sounds like fun.
  2. great info, thanks. so will it extend the range thus lowering the contrast or will it let my whites go even hotter, if you know what i'm saying? i'm asking because "video gamma" is the only color space i can monitor properly so i was hoping to grade for video and just take advantage of some hot headroom.
  3. yeah this is why i'm not fully confident with dpx and so on, but then again neither with tiff. after effects has a cineon export option which does dpx and seems to be taking care of the lin-log conversion, see setting below. guess i really have to get hold of some expert at the post house. :-)
  4. thanks, that makes sense. i'm not transferring film nor shooting raw though, i'm working with regular video footage. the thing is that everything was (wisely) shot to protect the highlights, and when i bring the images up in post it would be nice to be able to keep the highlights bright and contrasty letting them go as hot as they want rather than compressing everything between 95 and 100 ire, which both gamma correction and broadcast legal filters do. if that means they clip in the cinevator that's obviously not what i want, but if they are preserved it would be great. i guess i could always render to pdx or something instead, but i'm more confident with video space and there's still quite a bit of headroom over 100 ire.
  5. hi, i've done a few tests with the cinevator and while the results have been great i just realized that i always used "broadcast safe" hd masters. does anyone know if i might get more contrast and more punch in the highlights if i let them go all the way up? maybe i can even retain more saturation in the extreme highlights this way? i mean i should but how does the cinevator handle this? my contact at the post house doesn't know, but then again that's not really his field either. (the next problem is that i don't really have monitoring to properly check superwhites but that's what testing is for, right?) thanks, /matt
  6. for the record we've already shot the footage on video for various reasons, otherwise i agree that shooting film is always the best way of getting the film look. :-) i mean i'm not trying to make this look like film, it is what it is, but it's supposed to look a certain way that i think it's easiest to describe that way. /matt
  7. sounds like you've shot mostly kodachrome? i'm not looking for huge grain, but the old vnf stock was definitely grainer than any any modern negative, especially if you're trying to create the 16mm look on 35. yes, the most prominent feature is the contrast and the weird saturation where it sometimes looks almost b&w and sometimes super saturated, but that i'm handling digitally. i've added grain that i'm pleased with too digitally, but i don't think it will transfer well to film. /matt
  8. Thanks guys, much appreciated. Yeah i've thought about super 8, a medium i've worked a lot in as some of you may know, or 16mm but it complicates things too much in this case, plus it probably gets more expensive, plus quality control becomes a problem, after all this is for a theatrical release and not an "art piece". /matt
  9. hi, i'm recording a 720p video project to 35mm and i want it to be quite grainy, like old 16mm reversal. for the digital master i've added "film grain" using software and i love how it turned out, but i guess when going to film it would be better to create the grain optically/chemically? my idea would be to use the grainiest film stock there is, fuji reala 500d or f-400 perhaps, then underexpose it a stop in the recorder, then bleach bypass the print? i'm not sure if that's gonna give me enough grain though, but i can't think of any way of adding more. what about adding grain/gaussian noise digitally, will it look fake on film? i can imagine it becoming a "layer" rather than an organic part of the image. i know it's done all the time but subtly, heavy grain sounds like it would be a different story. thanks, /matt
  10. some blackmagic configs are fully compatible with apple's own uncompressed codec, i know 10-bit yuv is, probably 8-bit too, but maybe only in quicktime containers, and blackmagic has a bunch of configs that are not compatible. since it's uncompressed you can convert to whatever without loss though. the blackmagic codec isn't gamma corrected for the mac, so conversions to and from rgb as well as gamma corrected codecs like apple uncompressed, dv and mpeg-2 will cause color and density shifts. /matt
  11. jose, i think you're wrong. cineframe25 works quite well and unlike cineframe24/30 doesn't ruin anything whatsoever. you will only get a very slight increase in sharpness by doing it in post, and in my tests i noticed that the lower amount of data actually helped the compression causing fewer artifacts. this said i've also shot interlaced for all the projects meant for 35mm, but i'd test it first, and i've used cf25 for hd projection and it looks gorgeous. you can get test blowups in slide frames from many labs that you can project and compare. /matt
  12. i've done it plenty of times. the light is beautiful and quite easy to capture, the only real problem is that the brightness of the sky changes dramatically every minute. you probably won't see the difference until it's on film so use your meter constantly. using nd's and working at a pretty constant aperture is probably a good idea. where are you? while magic hour can last several hours here in sweden it's usually not even an hour long further south. /matt
  13. nobody mentioned cts yet? [EDIT: ok, one] i almost always prefer it over cto. i've lit two entire features for two different dp's with white diffusion (216?) as my only diffusion so the others can't be *that* necessary, if you can only get a few. as for theater/party gels i carry a small bag with every little piece i've ever found on the floor on the set/theater/party. they are very useful but there's no need to carry rolls or even sheets. /matt
  14. hdv is *always* uncompressed before color correcting. it's then recompressed if you're rendering back to hdv, but that's abother story. i like to master both my dv and hdv projects to uncompressed but converting to uncompressed before is just a waste of disk space. /matt
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