Joshua Dannais

anyone have any suggestions where to find the best deal on P2 cards?

p.s. not interested in firestore.

thanks

I've been searching about dimmers and inducing flickering... please correct if i've misunderstood: from what i've gathered you can make lights flicker by hooking them up to a dimmer and turning it down... but how would you induce the flicker without reducing the amount of light emitted? I would like to make a porch light on a house flicker as if it were broken...

thanks

thanks... i'll give it a try

thanks chris... but are you talking about a flash light, or something like a hmi?

this is on a npr, optical electro house in culver did the s16 conversion... i tried to figure it out using a chart but couldn't get it lined up enough.... anybody know what it is? thanks

Oops! It's 1/6th. You've got the right idea; I somehow counted the wrong fingers! :P

 

ISO numbers have a geometric relationship; double the number, you double the sensitivity (i.e. one stop). The common ISO speeds are divided in 1/3's of a stop. 640 is 1/3 stop faster than 500.

awesome, thats big help... i didn't know that.

thanks

1000 ISO is one stop faster than 500 ISO. f1.4 at 500 is f2.0 at 1000. F4 is three stops from f1.4; so you'd need to use an ISO that's three stops faster (4000), or a shutterspeed that's three stops slower than 1/48 (1/3 second).

thank you... On my light meter 640 was the next click up so I thought that was a stop for some reason. How did you come up with a shutter speed of 1/3? Is it half the speed three times: 1/48 -> 1/24 -> 1/12 -> 1/6?

I'm using a slow lens on a slr to take reference pictures of locations i'm planning to shoot on 16mm... since the lens is slow and I'm planning to use a zeiss prime for the 16mm shoot, would shooting the stills at f4 rated at 1000 iso give a similar result as shooting at f1.4 rated at 500 iso?

thanks

Any tungsten stock would be fine -- if it's day for night, you might as well go for 100T.

 

You'd just take your DSLR photo on tungsten balance, underexpose it, and add some contrast in Photoshop for more of a pushed look.

 

I don't think there's any reason to ND the windows unless you were balancing with some practicals inside. When it's all daylight like that, you can just use traditional day-for-night tricks.

David, What I've been doing research for is something that i want to shoot very early in the morning using sodium vapor street lamps. I'm trying for a darkly lit foreground against a very saturated blue sky. I would like to shoot without any filters using a zeiss super speed. I'm going to use a nikon SLR for some scout type stills, hence the SLR question... do you think shooting around 1.3 and using a fast stock, possibly pushing one stop, it is possible to achieve a similar look?

John, thanks... I'll grab a copy of Bandits when I get a chance.

Can I ask which film you got this grab from, it looks familiar.

Heat, shot by Dante Spinotti... any ideas on which stock would be a good choice? Also, on a SLR how would I simulate pushing one stop?

which stock would be a good choice for reproducing a similar look... my guess is shooting tungsten in the early morning uncorrected. thoughts and input appreciateded thanks

thanks david

would the outcome look the same? what would be the difference?

thanks

Thanks Tim, but I want to do everything in camera and by stock selection.

Will, I'm going to look into the double-x negative

Heck, Joshua, it looks like you just read Will's post word for word, so it would seem that you're on the right track (not that I myself would know. That's why I posted this thread:) ).

poop, didn't realize that somebody had already posted.. sorry for the double post

I'm interested to know what the finishing workflow is for shooting a project on film. from my understanding there are 2 ways to go about it (but i know there are more options):

shoot

processing/ digibeta transfer

edit (FCP)

finish to dvd

or...

shoot

processing/ one light transfer

edit (FCP)

EDL

cut negative

transfer again in highest quality as budget allows

finish to dvd

Are those close?

I knew it was something about super 8 being more work than 16...

Thanks for all the input, if the project goes through I'll post some footage.

Super 8 was an option... but it would mean finding a super 8 camera and I've heard that processing super 8 is more expensive to transfer or harder to find a place that does it. I own a NPR already so all we need is stock, I like working with 16 as well.

How would grain be added in the transfer?

We're going to shoot some tests next week, I'll try the underexposure.

thanks everyone

How would I add grain? Are there other ways than underexposing and push processing?

thanks

I just watched the test shots I did using the same camera and both mags, without the amber lightbulb in the view finder and everything came out great. Problem solved. thanks everyone

May have found out what was wrong... On the NPR, when looking in the viewfinder, there is a little orange light used for slating the audio. I wired the XLR cable for only power, bypassing the other two pins used for audio. Apparently this light is supposed come on briefly then turn off. However it stays on when there is something wrong with the wiring and since the two XLR pins used for audio were bypassed, it was detecting that as something wrong. I was told how to take bulb out using a quarter, hopefully problem solved. The light was staying lit, constantly flashing/overexposing the film as it went through the gate. We are shooting tests tonight to see what the lighting at our location looks like and to see if removing the bulb fixed the problem.

Another thing I noticed is the definition between frames on the good film versus the fogged film... the film strip on the left looks like each frame trails into the next. I shot in a very dark bar so I didn't think that overexposure was even possible. What would you guess caused the burned perfs?

Do the burned in perfs go the whole length of the film or are we looking at one end? Is the fogging the whole way through the roll or only on one end or the other? Remember that another possible problem area is the changing bag.

Yes, the burned in perfs go the entire length of the film, same for the fogging. The negative on the right, in the picture above, is some negative I shot with the same camera, same magazine a few weeks prior. I put them side by side for comparision. I didn't use a changing bag, they were daylight spools that I covered when loading. However, I only had film cores for the take up side (exposed side of the magazine). I covered it as best I could when it was taken out since I didn't have a bag. That could be a possible cause... but if that was the cause wouldn't the outer edge of the roll be more overexposed and the film toward the middle of the roll be more protected, thereby closer to normal? The fogging is consistent throughout the roll, like the light was leaked evenly on the whole roll. Which makes me think that the film was run through the leak.

Since you have perfs burned into the film it looks like that could only happen with a major light leak as it was rolled up, or it was flashed when it was being unrolled. Either the lab did it or your mag. has a major leak issue.

If it was the mag leaking then it would have been my fault for not closing it properly, I have shot other stuff with the same mag in bright daylight and never had a problem. If it was the lab, could it have been because I gave them daylight-spool film on a core? Maybe when they took it out they were expecting a daylight spool?

Is there anything that could have gone wrong with the camera to cause this effect? An improper loop, out of sync, etc.?

Thanks for all the input everybody.

here are a few more pictures (the dust is from the scanner):

The digital camera I have isn't high quality... so tomorrow I will borrow a friends camera and take a better picture then post it. As for not knowing what I wrote, push or pull, I took a bunch of projects in at once and had to label which were to be pulled or pushed... may have written the wrong thing. I'll also try to post a short clip of the transfer so you can see exactly how it turned out.

thanks