Drew Bienemann

Not sure about the LT but i've used the penelope 2-perf from abel cine in LA a couple of times and loved it both times. Really wonderful.

Hey, I was digging through an old drive and found the original scan of some super 16mm I shot for a music video earlier this year. This is Kodak 7219 500T, rated at 800asa, with a one stop push. We had planned on converting to black and white in the grade, so I the extra grain of the one stop push sounded great and worked out really well in the end. It was telecined to HDSR on a Spirit 2k. We go an unsupervised "flat scan", that was then rendered out to a 1920x1080 prores 422HQ. The vimeo compression really took a lot of the grain away, So I've included a few still frames as well. Photos are here: https://www.dropbox.com/sh/b66wby9zoaro0zx/AACshQrxKQuknafW2SvVAqgga?dl=0 I hope this is helpful to someone!

nobody?

Hey guys! I just got a new site with my current work and my first actual reel. Check it out and let me know what you think. Constructive criticism more than welcome! drewbienemann.com Thanks!

From what I remember from some Making Of thing I saw on it, it was the third and last take they did that day (as the scene took 5 hours to reset), and Alfonso was watching the monitor, and when the blood hit the lens he was yelling "CUT! CUT!" but nobody could hear him. In post he decided he did not mind the blood on the lens for part of the scene, but they paid someone to paint out the blood frame by frame for the rest of the shot. That's what I remember.

Just to be clear though, a loader/ second AC is NOT an entry level position. Though a camera PA is for sure.

I was on B&H today checking out some lights, and I saw that they had listed both an Arri STUDIO Fresnel 1k and an Arri LOCATION Fresnel 1k. What's the difference? The mount? The power cable? Does one come with scrims/ barndoors and the other not?

yeah, everything exterior i shoot 7217 200T and it looks fantastic.

for sure Yeah Yeah Yeahs - "Gold Lion" Yeah Yeah Yeahs - "Y Control" Y control because it's so raw.

soderberg and himself.

prices are absolutely negotiable. i had a producer friend who told me about a story from the early 90's when he was making a film, and he called kodak and was like "hey, im doing a short film, we're expecting a lot of buzz on the festival circuit. how much free film can you give me?" and the rep said none, so he said "oh really? because s-and-so over at fuji said they could get me 10,000ft for free.". the rep thought for a minute, and said he could get them 12,000 for free. granted this was almost 20 years ago, so who knows what would happen today. but film is negotiable.

not for cinematography, but it received a lot of recognition and praise overall.

I shot a doc in ethiopia last summer, but we were in addis, so we had power. will you have a vehicle? could you just pay for gas and run your charger off of the car battery?

Yeah we shot it on an SRII with a S16 gate. The actualy aspect ratio is 1.85, though it got stretched when it went on youtube. The scan bar we tried to get rid of, but we couldnt. i guess it's better than having it move up and down though.

and who could forget garth marenghis darkplace.

thanks for all the replies. i love ideas that can improve my work in the future.

well, im sure he feels very welcome now.

no? nobody?

sounds to me like your ac didnt press the test button after putting the mag on.

it's been a few months since this film was completed, and it has racked up over 500k views on youtube, so i thought i'd see was everyone here thought. i was dp. it was shot on an arri srii. i used 7217 200t for exteriors and all of the apartment stuff, and 7218 500t for all of the gameshow. the youtube version looks awful, but i hope you'll get the idea. thanks for taking the time.

i was dp for the film. thanks for the kind words. im glad you enjoyed it.