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Paul Marschall

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Everything posted by Paul Marschall

  1. I need to get rid of my magazine collection. I have approximately 15 years of American Cinematographer magazines and 5-7 years of ICG. Please email me directly if you're interested. I am in the Studio City, CA area. Thanks, Paul Marschall paulmfilm@gmail.com
  2. Paul Marschall


    I'm trying to find out what kind of lens control the Sony MC1 has. I know it has 10x optical zoom which can be manually controlled but how about focus and aperature? Can they be manually or automatically controlled? I could not find anything in the brochure. Thanks, Paul
  3. I will be shooting a 720/24pn or 720/30pn project for tv broadcast that will be archived HD but broadcast SD and would like to know the best way to get the SD master. The project wil be cut in FCP and, ideally (but not likely), output uncompressed for color correction at a post facility. What would be the best way to get an SD master? I suppose it would be best to have the post facility do it, but that may not be an option. Also, am I correct in assuming that shooting 30pn would give me a better quality down-rez to SD? Thanks.
  4. I worked on the short, but haven't seen that or the feature vesion yet. I remember that warehouse... aweful commute! I can't imagine 40 parcans putting much of a dent in that giant space. I'm really curious to see how the two differ. BTW, I'm currently working with your Key and Best Boy Grips from that feature-- great guys.
  5. Can anyone recommend any places in LA for a S35 optical blow up?
  6. Does anyone have any experience with this botique post house in LA? They have mostly done trailers but are moving in to feature DI's. They use the Nucoda Management API color correction system, which I am unfamiliar with. Their rates are great, I'm just not sure if it's because they're trying to generate new business and exposure or if they're cutting corners.
  7. Excellent answers David(s). Thankyou very much!
  8. Sure there are filmtools, studio depot, and of course expendable recycler. Are there other discount places? Looking to get ~20 rolls and would like as much of a discount as possible.
  9. Where do people like to get their supplies in LA?
  10. I know people sometimes rationalize the financial side of DI's by shooting 3perf and putting the savings towards that. Would shooting 3perf offset the costs of an optical blow up? not entirely? Roughly how much is an optical blow up? Is the only added expense the production of the new neg?
  11. So I've been struggling with how to plan post for a feature I will be shooting and am looking for input. I will be shooting S35, 3perf, 2.35. Originally I was looking to do a 2K DI, but I no longer think that is financially realistic. So now I'm considering an HDCam SR DI. If I choose to go that route do you think it would be better/cost effective to transfer dailies directly to HDCam SR or retransfer to it later? Has anyone gone through this process before and can share experiences? Is this the process Dominion: Exorcist just did? Are there other films that I could refer to see how quality would compare? Also, should I still consider an optical blow up? Everyone seems to have abandoned ship on blow ups, but are they really that inferior? Thanks.
  12. Does anyone know of lab, preferably in LA, that has comparison footage of a 2K DI, HD DI, and optical blow up-- all from S35 original?
  13. I found Kino-Flo makes an 1800watt inverter kit w/batteries-- PERFECT! http://www.kinoflo.com/site_map/rntl_invertrs/001.html
  14. Do you recall what size screen they projected on and what size projector (lumens) was used?
  15. Can anyone share experiences regarding this? I will be shooting a car scene using rear projection. I will be projecting an image on to a screen ~9'x12'. How important is progressive scan source material? Any idea what size (lumens) a projector I might need? What other questions should I be asking?
  16. I ran a 4K Par with electronic ballast off a 6500watt put-put. I haven't seen the footage myself, but I'm told it's fine. I wouldn't do this regularly, it was out of neccessity.
  17. I have a driving sequence to shoot over rough terrain at night in a moving car (all handheld in the car, no process trailer...) that requires ~20amps of power. Because of the terrain I cannot tow a small genny and the power needed is to great for an inverter off the car. What are other options? I'm using tungsten fixtures, so Jokers w/battery packs is out.
  18. Fortunately it's just for a lighting gag on a night exterior, just a couple lights hanging from a condor. I think I may just gel the lights close to the fixure, as they will not be on for more than 30 seconds at a time. I can't afford two rolls of gel for this quick effect.
  19. I know 6K space lights come with gel frames but I've never had to use them in the past. Now I expect to have to gel them on a job and am wondering what the best way to do it is. The gel frames are intended to be used at the bottom of the fixture, correct? If at the top, the gel would just melt. How have people gelled them in the past? Wrap the entire source in gel?
  20. It is possible to do an optical path mixing 3 and 4 perf, just a matter of A/B/C (and maybe D) rolling the neg cut. I am hoping for a DI, but not yet approved. Thanks.
  21. Against my better judgement I may be doing this for a feature shoot. I know this could cause confusion in post so I'm trying to find the best way to clearly communicate to everyone (loader, lab, editor, etc.) which is which. Other than CLEARLY labeling camera reports and slating the heads of camera rolls what would you recommend I do?
  22. Great info David, thanks. This is my first feature (finally!!) and we'll be shooting 3perf S35 (for the 2.35 and 25% savings). It has an OK budget and they're already talking distribution, foreign right now. Post always seems a bit of a crap shoot, whether you'll get a print or stick to video... Ideally I'll do a DI to finish it, but that's not in the budget right now. The plan is to get the film in the can for as cheap as possible and have a great video to shop around and hope distributors pick up the tab for the rest. Could anyone share experiences regarding this? I realize this is a gamble most people lose, but I think it's worth taking. Am I wrong?
  23. How is post handed for films that are distributed direct to video? Are they typically transferred to Digibeta, cut, onlined, and then color corrected? What format do the typically finish to? I assume they never go back to finish the negavite, or am I wrong? Is there a spectrum of "direct to video" processes? If so, what is the best and what is the worst? Thanks, Paul Marschall
  24. Any ideas where I can get one for a day or two?
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