Marcel Zyskind

$19K is a good deal for a 6 lens set of Cinevisions! Are you missing a digit? If not, let's goooo.

Hi again, Visually my inspiration was from 60's and 70's westerns. Obviously, dare I say. The spagetti westerns just look so damn good, also Clint Eastwood's own directed films like High Plain Drifter, Pale Rider and Unforgiven. They just resonate with me. But I don't follow any agenda with having to match a certain look from a film when shooting. It just so happens that whatever I watch kind just lays the ground work and I then work from there. I really tried hard to shoot 35mm film on this film! But it was just difficult being in the desert in Mexico having to ship the film to LA and not see results until 2-3 days later. Producers worried about having sets and actors not being there anymore and then learning some issue might have happened with the footage. I did try really hard though! Viggo had a lot of 40 and 50's references that we watched. He really likes Yasojiru Ozo's films! Other than that, we made shot lists and I made a lot of photo boards for myself. My approach to lighting is really to try to keep it simple. Supplementing practicals. Lighting only from the outside when possible during day int. scenes. The saloon was a very dark location during day and night time. It seemed like a dark hole that just swallowed the light. There are couple of shots I wish I went darker in there, but you live and learn. Regarding lenses I had Atlas Orion anamorphic primes and the Cooke 35-140mm zoom. I shot most of the film at T5.6 during day time and around T4 at night, even if I had to push iso to 2500ES on the Alexa 35. I was trying to keep a little depth if possible. I used a 1/8 Schneider Black Frost for most of the film. I used the zoom a lot, also during the night time scenes as the horisontal flares from the Atlas Orion could get a bit distracting at times. You mention Cooke anamorphics. I'm not crazy about their anamorphic primes as the have heavy pin-cushion distortion and that really throws me off. The zoom I had didn't suffer too much from that. The old Cooke Xtal Express anamorphics are gorgeous though. I just shot with the regular 709 lut, as the camera was brand new from the factory when we started and we didn't have time to finesse a lut in time. I hope this helps, all the best and good luck with your film. Marcel

Hi River, I've just seen your post. I am little busy, but I'll try to reply to your post asap. All the best, Marcel

You might need to have genlock between cameras

This is a great behind the scenes documentary from 'The Two Faces of January'. A film I cherish very much. Documentary was made by Hass Amini, brother of director Hoss Amini.

Hi Paul! Thank you for your kind words! Good luck on your western! I do like the Alexa 35 and I'm about to start my 3rd film with it. I did however fight quite hard to shoot The Dead Don't Hurt on 35mm 2 perf but had no luck 😉

Hi Brett, Sorry for being late to answer this. Thank you for your comment. A funny note to the shot you've attached is that it's lit night for day. It was part of our San Francisco fish market set that we built behind the main western town of ours in Durango, Mexcio (in the desert!). Our excellent art dept. built this one side of a ship and the ocean behind in this opening crane shot of this scene was vfx. I knew the whole scene in the "harbour" would take all day (and potentially take us into night) and had proposed to Viggo to do this very shot and the medium shot that also includes his horse as the last two shots of the day in case we would go over. I guess it worked out ok 🙂

Recently I ran a bulk load of 100ft Rollei Infrared through my 3 perf 2C. It was not super stable although the 5222 I ran through on another mag wasn't either, albeit a little more stable than the Rollei.

FYI https://www.handcheckfilm.com/

Oh I know. But they seem to be worse for film stock, hence why I was asking.

Hi Dirk, This DHL business sucks big time! Have they not always x-rayed packages though? Do you know if they have changed to CT scanners? The problem with road shipping, is as you say that it takes 1 or 2 days extra. Some film insurances demand that your footage is developed and scanned within 24 hrs. Some productions just require a quicker turnaround. What if we are shooting in far away places, like islands in the north atlantic? A couple of months ago (before DHL attacks) I spoke to Jetpak.com in Denmark who were willing to send without x-ray. I don't know if this is still the case. They were more costly than DHL. We need more local labs. Either way I will fight to keep shooting film no matter what! Happy Christmas to everyone.

Dear friends on cinematography.com My film The Dead Don't Hurt which I shot for director Viggo Mortensen in Durango, Mexico and Ontario and British Columbia in Canada is now showing in cinemas across the US & UK and many countries across Europe. I hope you would go see it on the big screen where it really shines. This is my second collaboration with Viggo as a director/actor. I attach a trailer, but I would recommend not watching it and just go see it without knowing too much. Instead I attach a nice BTS photo I did on set. https://marcelzyskind.com/portfolio/the-dead-dont-hurt I'm around here if you desire any information on how we made the film. Cheers, Marcel

4 perf or 3 perf? Cheers

Have you tried Artturi at Elokuvakonepaja directly?

Hi there Has anyone here ever shot with any Periscope / Probe systems like the Optex Excellence or the like on s16mm film? Looking for recommendations for a good system that works with wider lenses as well. Many thanks