Jump to content

Matt Sandstrom

Basic Member
  • Posts

    463
  • Joined

  • Last visited

Everything posted by Matt Sandstrom

  1. i know you said roughly and i know how you got that number, but it's only true for regular 8. for super it's almost exactly 3 times? /matt
  2. wow, not nearly as off the mark as accusing me of accusing you of that of course. i'm sure everybody else understood perfectly what i meant so i won't start an argument over it... for the record i don't have anything against super 8 festivals. i just don't think they're needed, and especially not fot the reasons you describe. /matt
  3. you'll need power. rent or borrow a small generator. if it doesn't have to be silent you can probably find one for very little. or you can use an inverter off the car's battery (bring a spare). and don't forget that you can run cables long distances. i'm not sure what you mean by backstreet but i find it hard to believe that you wouldn't be able to find electricity within the radius of a bunch of extension cords. electricity's everywhere. then get two 1k worklights, snoot one with blackwrap and use as a streetlight and gel one blue and shoot it through a white shower curtain or bounce off some foamcore from the side and above for moonlight. i'm assuming you're on a zero budget here. there are of course more professional solutions too... ;-) /matt
  4. i'd pick the 1200 for sure, but in my experience you need a bigger unit than that to simulate sunlight, maybe a 4k, especially if you're diffusing it. a bounced 1200 makes great fill for indoors lit by real sunlight though, and it's great for night shots, and you can run it on regular power. /matt
  5. for what it's worth i've made several super 8 films and music videos that screened at well knows festivals (well, no cannes or sundance but still) and on television among stuff shot in 35mm, hd, video or whatever. all super 8 festivals do is establishing super 8 as a gimmick so i can see what santo means. it's the music videos, skateboarding movies and cannes shorts that bring more people to the format. and yes, people do recognize super 8 in those. /matt
  6. back projection? not necessarily for the main plate but on the sides for believable reflections. just a thought. i haven't done it myself but i've seen it done with windshields on car process shots. /matt
  7. um, are you sure you're not mixing it up again? sodium vapor is orange/yellow afaik. ;-) /matt
  8. get the leicina. it can be used for "professional" super 8 applications while the krasogorsk will always be just a toy. i own a couple of high end super 8 cameras that i use all the time, while my keystone 16mm is never used even i though i shoot way more 16mm than super 8. the reason is of course that i rent. if you're going to spend thousands on film, processing and telecine you might as well rent a nice arri or aaton package for a couple of hundred, right? /matt
  9. Matt Sandstrom

    Arri 16m

    haha, this is hilarious. http://www.visualproducts.com/storeProduct...0&Cat=3&Cat2=38 /matt
  10. just guessing but maybe the z1 has a longer zoom than the camera the adapter was originally designed for? or the adapter doesn't cover super 35 which you might be used to? or you were tricked by the fact that you were looking at a 16:9 image rather than a 4:3 one? again, just guesses. maybe they'll lead to an interesting discussion? /matt
  11. i'd make the low budget feature i'm writing right now. otherwise why would i be writing it? :-) /matt
  12. let it warp and buckle as much as it wants. it won't melt. if it still does then yes, you're using the wrong gel. /matt
  13. yes, the built in meter takes the prism into account, but why this would mean that it's better is beyond me. just figure out how much your prism steals and you're set. half a stop is a fair guess. or 1/3 if you're light meter doesn't have half stops. a grey card will tell you for sure. /matt sure, if the angle is 180 degrees which is exactly what they're discussing. /matt
  14. i won't break his cover but since the moderators of this board ask you to state your real name i'll give you a hint. he's listed on the imdb and i'm sure he's mentioned the production he's credited under here. look it up. :-) /matt
  15. yes, looks pretty useful especially since the ballast is built in. but the jokerbug is still the best boom lantern light, isn't it? i think another diy project is born though. especially since they list online what bulbs they use... /matt
  16. i think you're making a mistake. someone who owns several cameras in various formats and even thinks it's worthwhile to get a matte box and follow focus system for them is obviosly way ahead of you when it comes to filmmaking, as is somebody who's made feature films. i know that you're an established writer/producer but as a cinematographer you still got more than a lot to learn. face it. how many professional productions have you worked on as a cameraman, ac or at least camera crew? please correct me if i'm wrong but i'm fairy sure it's zero. /matt
  17. i think you're gonna have to bring up the overall fill quite a bit to keep the sense of daylight. the falloff from the windows is probably great and if you add backlight, especially warm, you'll end up in a day for night situation. perhaps key them with a couple of 1200's through some frost and shoot one in the ceiling or bounce off some foamcore? or build a "wall of kinos" between them and the window if you still want the really soft daylight from a window feel. just suggestions. oh, and how big was this place again? /matt
  18. i rarely rely on dof to determine what's in focus, unless i have several objects at different distances that all have to be sharp. this is for several reasons. one is that if something is moving towards the camera i feel the background should drift out of focus accordingly. second, focus becomes much more critical when things are moving. if something is sharp and moves towards getting soft the eye is much more sensitive than if the object was slightly soft to begin with and perhaps even more so the other way around. seeing something pop into focus is kind of disturbing for the perception of the scene. and third if you have a focus puller or are good at it yourself it's much easier to just rack focus than to constantly check your tables and/or just "hope for the best". my two cents. /matt
  19. about three times as much light at the same wattage. but it obviously depends on what color temperature you need as well. /matt
  20. arri sr3 with vision2 expression 500t. spirit scan to digibeta. no hd. my last short film was shot with the fx1. i'll post some stills and clips soon. /matt
  21. yeah, i never had a major problem with generators either. in fact i've used gennys on powered locations too for convenience, and if you need more than houshold power it's still the only option. /matt
  22. yeah, i don't understand what the problem is. why would there be a focus ring on the camera at all if you don't have to focus? and if you already own a follow focus unit for another camera what on earth is wrong with mounting it on your super 8 camera? useless would be to mount a pocelain owl or something similar (and that would actually still be kind of cool). at least a follow focus can be used to focus. /matt
  23. well, the heads also wear down over time, but we're talking years of use and thousands of hours of running time. do you honestly think somebody would build a camera that could break from putting a tape in it? /matt
  24. on the ones i've used you could set it to turtle, rabbit or auto. in auto mode they adjust up and down all the time for no apparent reason and if the load is high it can indeed change the light intensity. you're not running on choke are you? that makes the problem worse. /matt
  25. it can hurt, i.e. increase the risk of dropouts later, but probably not. watch out for tc breaks though. i've gotten weird sound sync problems on hdv tapes that didn't have continuous tc. no. sorry if this sounds arrogant but what gave you that idea? anyway it's the tape that's sensitive to damage, not the heads, and it will cause wear no matter what deck it's played in. i wouldn't plug a camera into a shaky supply, but a charger should be ok. good luck. /matt
×
×
  • Create New...