sophia olsson

Thank you! We talked earlier about using a trailer, but in the end there wasn´t enough money for that. But I agree, that would have been the best way! I´ll have a directors viewfinder tomorrow to look through and then I´ll see if we need something wider (if I can trust this viewfinder). But I´ll look it up in a filed-of-view table. We´ll probably be using 25 mm and 35 mm lenses quite a lot in this short film, so it might not look to strange going to an 18 mm. I´m also thinking about making a budget version of something that reminds of a trailer. We have a small bus were you can film from the back of the bus and "drag" the prop car behind. Then we´ll have the same distance and I don´t have to have such a wide lense. Hopefully we´ll be able to try if that works tomorrow. Thank you for you help once again!

I´m shooting a short film with a pro35 adapter and 35 mm lenses and one picture will be shoot from the front of a car (from the hood(?), I think that´s the word in english). I want both of the actors (the driver and the passenger) to be in the picture at the same time and the widest lense I will have is 18 mm. Now I don´t have the possibility to check this before with the actual lenses to see if its´s wide enough, so does anybody out there know if it´s wide enough with 18 mm or should I have an even wider lense also (and then how wide) just to make sure? Thank you! Best regards, Lisa (The car is a regular car, it´s not that wide)

Yes, you´re right but we didn´t have the time to do any tests. This was a small project that got started within a week, just to try the Super 8, Kodachrome, and with two actors. There was nothing wrong with the camera and it was one step too dark when we started shooting, but we decided to film anyhow and that we would push it one step afterwards. So the film is not processed yet. Then when I wanted to process it, Kodak in Europe didn´t push Kodachrome but Bon Sawyer mentioned a place that does that (which I haven´t found anywhere else yet) and that´s Dwayne's Photo. Thank you Bon! So we´ll probably send the cassettes there.

Thank you, that sounds good! I think I´ll just throw a rag over my head while shooting so I don´t have to keep my eye close to the eyepiece all of the time :) That should work.

Thanks once more, I´ll just keep my head tight to the viewfinder - to be on the safe side :) ! Best regards, /Lisa

Thank you, I´ll check that out! I have another question which is about filming on Super 8 with a Nizo (brown) 1 camera: Do you know if I have to keep my eye close to the viewfinder when shooting to prevent light getting in on the film or is it safe even if the viewfinder isn´t covered (which I really hope, regarding the pictures we would like to shoot)? Best regards, /Lisa

Thank you David! Now I can feel safe about that when we start filming in a couple of days. Best regards, /Lisa

I´m going to shoot a shortfilm with KODACHROME 40 in daylight on Super 8 and I haven´t shot on Super 8 before so I have some questions. Do I push in the "sun"-daylight-bottom and does that work as an 85 filter and is that why the exposure goes down to 25 ASA instead of 40 ASA? Thank you :) ! Best regards, /Lisa

One little question now when I´m going to shoot my first film on Super 8 with a Nizo (brown) 1 camera: Do I have to keep my eye close to the viewfinder when shooting to prevent light getting in on the film or is it safe even if the viewfinder isn´t covered (which I really hope, regarding the pictures we would like to shoot)? Hoping for answers and thank you! Best regards, /Lisa

Thank you for all your answers! In reference to Kevin Zanit: I´ll search that post right away! The light in the scene is supposed to be the moon because the film is being filmed in the countryside at nighttime, so I would really like big soft lights but like you said - I don´t think we have the budget for that. So your suggestions were great to get, now I just have to get together some suggestions to give to the director. In reference to Wendell Greene: Thank you for your advices and I will get to talk to the director within a week and now I know more what I´ll ask her and the producer. No, I haven´t been to the locations yet, they are still looking and I´ve just got some pictures from some possible locations but I hope to get more information soon. The mood of the story is that one person is standing alone on a road in the contryside at nighttime and he doesn´t know how to get out of there, hoping someone will come and pick him up. I guess a flying moon would be good for example but we don´t really have the budget to that. Maybe I should have a crane and have some lights in that?! But at the same time, I´m not sure that there´s enough budget for that either. The finished film will be on video, at least that´s what it looks like at the moment even though we´re hoping to get money for a print. Thank you once more! Best regards, /Lisa

Hi! I am about to give a suggestion on what lights to use for a short film that I hopefully will shoot. But I´m not sure on what lighting to use. The film will be filmed in the countryside at night with a forest and fields around the main charachters. We will propably film on 500 ASA film, 16 mm. I am very curious on the Fujifilm Intros Eterna 500 Color Negative. Does anyone have experience of that film (I mean compared to KODAK Expression 7229 500T or KODAK 7218 500T)?! So, what I wonder about the lighting is how strong lighting you think I need. We have money for lighting, but not to much. I was thinking on two big lights on 4000 W, HMI, to have in the forest to light up the back ground. And then of course more lighting by the actors, but what I´m mostly worried about is how much I need to light upp the field and forest and what type of lighting. Hoping someone has some answers or suggestions! Thank you! Best regards, /Lisa

Hi! I've shot a short film with a SONY 500 and I´m now going to post to "light" the film (I have no idea how you say that in english). I can only "light" the film in Final Cut Pro 4 and I wonder if anyone can give me some tips on how to make the material look better(!) and to get more of a "film look". I guess you´ve heard this question sooooo many times before and now you hear it again... But I would really appreciate your expertice! I know how to interlace the material and how to work with the contrasts and colors, but besides that I don´t know that much what I can do. Do you have any suggestions?! For example, are there any good plug ins that work for Final Cut Pro 4?! I would like to get away from the worst sharp edges with video and I would also like to make the edges of the picture a little bit darker (don´t remember the name for that in english either). And these where just some examples. I guess you have lots of other suggestions of what I should think about. Hoping for answers :), that would be great and thank you ! Best regards, /Lisa

In two months I will shot a short fiction film with the DVC Pro 50 camera and I haven´t had a chance to test it yet so I wonder if someone has some recomendations of do´s and dont´s with this camera. Any special filters so I can get a more rough feeling for example, or is it better to do everything in post?! In the end I would like the film to have quite high contrasts and feel a bit like handheld documentary filming. I was also thinking about black pro mist, isn´t it so that it makes the picture a bit softer but at the same time gives it higher contrasts?! Hope to hear from you :) ! /Lisa

Does anybody know about a good site where they describe the different filters, or maybe even have pictures of the difference? That would be great because I need to know what is out there and then do some tests. Thank you! /Lisa

Thank you all for your helpfull advices! I just wonder what undercranking the camera means. Otherwise I get it all. Thank you once more and now I know what to try. :D /Lisa