Tebbe Schoeningh

Image quality is quiet bad, PM me and I give you my Email adress, so you could send me the picture in beter resolution. Have you got a second mag to check if its a mag problem? I may be wrong but if I see it right the film slips of the core at the exposed side. This could be a problem with mag-tension. After loading the raw material, passing the film to the other side and fixing it to the core: how many times you turn the core? You should turn it a couple of times, it has to be tightened! I´ve never seen the BL´s mag with daylight spools... Maybe anyone here knows if this could cause any problems.

what is exactly the problem you got loading the mag? i don´t remember the exact amount of perforations the roll should have, but respecting the mark on the upper left side everything should work out fine.

which letus are you going to use? the ultimate works fine at all shutter speeds, using the extreme you might see the ground glass using shutter sppeds faster than 1/125

por fin! ja!

funny...i was looking for some articles about "capote", yesterday i saw it again on DVD and again i loved the work of adam kimmel. i loved the shots of the kansas countryside and especially the shots inside the prison with it´s very shallow depth of field called my attention. i thought it was interesting to be that close and in a certain way it made me think of medium or big format portraits. does anybody have a link to interviews and/or articles about the cinematography of this film? i´d like to know which emulsions they we´re using and i suppose that they finished photochemically without passing through a DI. do you think that some of the shots have been pull processed? colors are muted and pastels dominate. contrast is quiet low in some of the shots, which gives the film a particular atmosphere (the shots of the first sequence with their clouded skies hav e this atmosphere too). does anybody know which lenses they we´re using? i liked the way the intercut details / close-ups with wider shots as for example in the scene where capote discovers the article about the murdered family in the newspaper. do you know if there are any lighting plans available? i loved the way some shots are backlit and i´d like to know which gels and lights they were using... i think the film is a great example of an almost perfect colaboration between cinematographer and art director. everything seems to fit there!

hi! anybody from argentina here? saludos tebbe

although i would´nt enroll for the french aqrmy i loved the spot! you´re a genius, it looks beatiful. especially the helicopter shot at the normandie coast is beautiful. did you use steadicam up there?

beautiful! i really liked the foggy look in the first part of the video! and nice handheld work too!

i tried "redscale"... out of accident :rolleyes: the telecine operator had to search a lot until he found some exposure on the negative ;)

I´m owning a Letus Extreme too and iI´m renting it out with a set of Carl Zeiss Distagon/Planar with Contax mount. Using it with a HVX 200, you´d have to be careful, because the image of the camera tends to be quiet noisy, especially in the shadows. I think the Letus or the Redrock in combination with Zeis Superspeeds are a good decision. Try to work wide open in camera and in the adapter too! I´d recommend to lower the Pedestals and Image Details to -2 to reduce a bit the noise because in combination with the "grain" of the adapters ground glass it could be very annoying. If you could get an EX-1, or even better, an EX-3 and the achromatic lenses for the Letus you would have a camera which works better in low-light situations and is less noisier...

because of argentinian customs and mail services. unfortunately they´re not very reliable... do you know how long it may take to convert the camera?

thanks! i´ll consider a flight to australia....

The rental place where I´m working at owns two Arri III, I think they would´nt consider to convert any other of their cameras? I already wrote Bruce and he replied immediatly, the only problem is to get the camera to Melbourne... Flights to Australia are long and expensive, that´s why we would prefer to bring the camera to the US.

I´m looking for a place to convert an Arri III to 2-perf Techniscope in the US. Searching the forum and the Internet I found arandafilm in Australia but it might be too expensive to get the camera there. Any recomendations? Thanks a lot! Tebbe

i especially like the first one. what was your process?

@ Bruce: although Ecuador is a couple of thousand kilometers from here I am actually interested in the contact. Got a lot of friends in Colombia who might be considering shooting in S35 2-perf too... Thanks a lot

Another price to consider is the rent of S35 2-perf equipment compared to S16 equipment. Camaras y luces, the biggest rental house in Argentina rents out it´s 35mm cameras from 1000 to 2000 US $ per day, while a SR II is at 600 US $ and a 416 at 950 US $. I suppose that a brand new Aatonn Penelope would be around 1500 per day. Certainly I think that S35 2-perf might be an option for productions which are considering 35 3- or 4 perf or even HD as their option but not for those who are shooting on S16.

I wrote an essay about HD vs Film for filmschool and I included a part about S35 2-perf. I can send the pdf-file by mail to anyone who wants it and knows spanish.

The standard scale for processing here in Argentina is per meter and at the biggest lab here (Cinecolor) the charge for processing a meter of S35 and S16 is exactly the same: 1,40 US$ / m I don´t know if 2-perf S35 could be cheaper than S16 because the rolls are signifcantly more expensive (250 US$ vs. 160 US$) but nevertheless 2-perf seems to be a perfect option to cut down material and processing costs. It could be even an alternative for HD because really good HD equipment is really expensive too, If you calculate renting costs for an Arri D21, HD-monitors, maybe backup to HDCAM tape and the HD-technician, S35 2-perf is 5-10% cheaper than HD! And to me it seems a waste of money and resources that there are several films shot on 4-perf S35 which are later cropped in postproduction to emulate a cinemascopic look. They did so with "Leonera" here (Pablo Trapero - http://www.imdb.com/title/tt1022606/ - Lab Cinecolor and DI Cinecolor Digital) I suppose that they did´nt have the 2-perf option because as far as I know there are no cameras available for rent on the local market (Argentinians who are reading this: please correct me if there are!). So the Aaton Penelope-2 would be highly welcome here ;)

This is pretty standard because you pay per meter.

I used to work in a local rental house where I saw the ocassionally when we subrented them to fill up orders that we could´nt supply completely with our own lights. Seems that this low-cost Arri-clones are interesting for the local low-budget market especially when you if you think about the exchange-rate of the local currency... From the outside the heads look almost the same, although the finishing is not as "perfect" as the one of the originals. The ballast is a bit different but the functions are the same (stepp-less dimmer etc). We had some problems with the ballasts, some we´re getting really hot, others we´re quiet noisy, but not all of them! Most of them worked quiet fine. I compared the beam and by watching it (did´nt measure it because I never had the time at work) I could see a difference in the grade of it at the points where the fresnel glass "makes a step" (don´t know how to call this - i mean the typical fresnel structure with "stairs"). The Arri glass is much better, the grades are softer and it´s like one beam of light whick looses intensity towards the edges, the chinese glass looks more like layers of light with different intensities. Maybe it has got to do with the mirror too. Both lamps were equipped with the same, brand-new Osram HMI-lamp! Anyway. It seems that Arri has got some quality problems too. The rental house ordered a couple of brand new 6K-PAR Arri Heads with Ballasts in the States and two of them did´nt work, they had a problem with the electronics and it becam necessary to exchange the whole board of the ballasts. From the inside they look like a computer... By the way. There is a local brand called "Dexel" which copies a lot of lamp heads too, mainly fresnel units and some of the look exactly as "Desisti" studio lights. I always wonder wether this brands are getting any problems with copyright and patents...

Hi! I´m looking for a set of S16 Primes, could be Zeiss Distagon or Cookes. Any offers will be apreciated. Thanks Tebbe

try the a-cam though, looks like a camcorder... ;)

the are hundreds of ways to give your image a certain color. you could use 1/2 ctb´s on your tungsten lights to get a warmer look or 1/2 cto´s on your hmis, you can use filters (something like coral, check the tiffen page to see which filters are available) or you can go for color correction in postproduction...

There is a french movies from the sixties called "The things of life" or something like that. it´s directed by Claude Sautet and the Cinematography is by Jean Boffety. The transgresions from reality to dreams or memory are treated in a very particular way. They would open the diaphragm in take or pull the image out of focus...