Charles Mysak

Hey everybody, I'm shooting a narrative short/ music video (like "Thriller", story for first 5 minutes, then music). The director likes the idea of some slow motion throughout the music video section of the film. I have seen in music videos that the singer is singing in sync, but he is moving in slow motion. I was wondering how this is achieved. I am shooting on an Arri SR3, S16mm, Kodak 500T and 200T. Any ideas about this would be greatly appreciated. Thanks. Charlie

So at the very end, I decided to push it only one stop. And after doing the supervised transfer was very happy with the results. The colors matched very nicely, we were able to boost light into the sky a bit to match, and overall its almost seamless matching wise. The Vision TWO stock has fantastic latitude, and was pleasantly suprised by the small amount of grain that was present in final image after pushing it. Can't wait to try out the Vision 3 that just came out. Thanks for all the suggestions again guys.

Hey everyone. So I'm watching Days of Heaven, and its an incredibly beautiful film. I just love how Almendros exposes for the sky outside and allows the workers to go black. Very expressive. But the interiors, and all the closeups have such great flesh tones. Besides the fact that a lot of the film was shot during the "magic hour" would anybody know if they used a warming filter on the lens, something like a half or full straw? In the interiors, the flesh tones are so warm, I just wanted to know how they acheived that. Was it gels on lights or was it filters, or both? Thank you beforehand. Charlie

Thanks everybody for your suggestions. I think 2 stops is what I have to do, but I'll let you know how it turns out.

Since we haven't got it processed yet, would you suggest a one stop push and work with the timer to adjust light levels during the transfer?

Hey everyone. I was shooting a student film this weekend, on the arrisr2, super 16, 1.85:1 ground glass, Zeiss primes T1.3. We were shooting outside on Sunday and it was a very cloudy day. The sun was setting at 4:30 and we had about 3 shots left at 3:30. At that time we had to load another roll of film, but our mag was having a bunch of complications, which we assumed was due to the cold weather it was under. We spent the next hour trying to fix the problem, and by the time we got to shooting, I was reading nothing on my light meter. I was shooting Kodak Vision 2 250D. By eye, there was still light, so I shot it open and have asked to push it 2 stops. My question is how considerable the grain will be after doing that. We are doing a supervised transfer and hoping to match it with the shots prior to the incident. Will it be possible to accomplish this or will the grain be too considerable. Thank you beforehand.