David Rakoczy

On a feature in the Phillippines, we opened a 'new' chamois bag (from the rental house) to find a dirty... BLOODY Chamois!!!!!!! Ya.. real Blood! Anyway, they were obviously recycling them with a quick rinse. Thankfully, my 1st AC was a pro and had a dozen with him.... Like underwear, bring your own.. don't share! :blink:

The Image posted is not 'saturated'... it is 'de-saturated'. Yes, it has a blue cast to it but look at all the rest of the colors. De-saturated. I believe this is a combination of Pull Processing... or simply under-exposing and printing up (leaning more toward this) ... and (I believe) Double Fog Filters were used as well.

I've used Propane Blasts off Camera...

Move the BackLight to Camera left... that way the Balloon Light will be 'wrapping' the Backlight... I would use that BackLight as back 3/4... kinda like a Kicker.. I would also use a 12x12 Bounce for that front Fill from camera left... and that background Light from camera left so all the shadows are falling the same direction... Basically have them all come from the same side of Camera.

...or notice the Ballast... or the Color of the Light! I just see a bunch of runs back to the Rental House for the 'right' Lamp...

Seems a bit silly... I do like the larger lens... but I can only imagine how many Tungsten units are being delivered to HMI Jobs.. and visa versa :blink:

Son of a Gun!!! Go Hans!

25 years in 'Hollywood'... never seen or heard of a Tungsten 12k....

No.. only worsen it.. or if that is what you want.. help it.. it depends on what you want... if you are shooting S16mm, and you want a 'cleaner' image, I highly suggest shooting 'clean', esp. with white walls. Though I have to admit, shooting a scene against one Green Screen Wall can be a real 'TEST' for your Director... tuurning people and objects.. constantly rebuilding a room / environment from a different perspective.. is challenging, even for a seasoned "Director"... and I agree with Nadav, without proper attention to detail in the Composite, shading or shadows or otherwise..for a student Film budget, it might feel sterile.. but that (may) be what you want (?) ..... if you want them to really 'feel' like they are actually 'there'.. Light the Room. You have a good Package of Lights to work with! Sky Pans are fantastic for what you are doing! Take a Spot Meter! Read Film Lighting by Malkiewicz. These two will be invaluable!

18k will be great for that... we have used 20ks in the past to light complete blocks by running them as back 3/4 Lights raking a block. Depending on what color temp you want you may be better off with a 20k.

Panavision's Flasher Flashes the Film as it enters the Mag. I used them on a Feature and they work Great! You can also add Gels to warm or cool the Flash.. I used Blue to Flash the Night Scenes and Orange to Flash the Day Scenes. I believe it is Arri who has a front Flasher.. Adrian is right... always test any Flashing to be used or considered.

It is a fine line between blowing out the BG and Blowing it our too much so that it is now contaminating the Talent you are shooting.. it is a ratio thing. 4 Stops max... It doesn't matter if you lit the walls with hard or soft Light, it has to do solely with how much over it is from your Talent. I am always afraid of Super Grain when shooting white walls in 16mm. 3 stops would work but you may still see details in the corners or a lot of Grain on the Walls etc... Use the 100t as you have plenty of Light for that. Unless you want the walls to be boiling with grain.

It eats Cameras!!!! :o

Saul, if he can't reason that out.. run away.. he is obviously unbalanced and the project is doomed!!!!!!

$90 per 100ft to process???? Can't he get a 'normal' quality Stock for the price of the savings???? 400ft of Neg is usually around $60 to process... he will be paying $90 x 4 or $360 per 400ft... That is two 400ft Rolls or 'Quality' Brand New Stock! He had better be a better actor than producer!

Two Points: 10ks are Tungsten - 3200kelvin 12ks are HMI - 5500kelvin You will need to go well over 3 Stops as at 3 Stops you will still see some detail in the corners etc... Green Screen will give you the cleanest 'white' because you can control the white's grain in post. If you shoot white walls (esp. with 16 or S16) you will have a tremendous amount of Grain/ Noise unless you really BLOW THEM OUT... and by that time the white will seep into and over the edges of your Talent... which you may like (?). If you go the white wall route, I'd recommend 100t. Test is Best!

David sorry to be a bore , but think you could be pleased.

You keep saying that John and I have taken you up on it! I have been a predominately Kodak guy forever and it has been quite a while since rolling Fuji. Called them up the other day.. got their info Packets and Demo Reel and ordered some S16.. Vivid 160T... I look forward to exposing it! I do find (some) of the latter Kodak Stocks deliver a 'video' type Image not to my liking. I do love 7212 and 7217.... but gonna roll the Vivid next Job (if I can)... being I am the Producer, Director/ Dp I'd say it has a pretty good shot ;)

I shot a Feature (Durango Kids) completely with Tungsten Lights. This was a 'Western' and included day and night exteriors/ interiors... all Tungsten. Now, we had 20ks and Dino Lights with Dichroics. They worked great! Have a Color Temp Meter with you and place the appropriate gel in front of the Tungsten light bearing in mind that when applying Full CTBlue you will have a huge Light loss and therefore need larger units. I recommend using Dichroic Bulbs whenever possible. They are great on the Dinos! These will get you much closer to 5500k without all the light loss. You may want to add a 1/8 or 1/4 CTBlue to get you to match 5500. I remember matching a late dawn shot with straight Dichroics... no gel. btw.. when Gelling Dinos use Heat Shield Gel! One roll should last the Show. Color Temp Meter is key. A lot of folks simply do not like HMI Lights and their quality of Light and rinky dinkying with CTOrange, CTBlue, Magenta and Green on each unit... I read about this and thought , ya know.. I am going to give this a try.. an entire Feature... No HMIs. I am glad I did. All worked well. Enjoy your Show!

ooops.. your web link signature just appeared. Nice Site! Nice Equipment!!!! I want to call you .. maybe later today if you don't mind.

Right On Adrian!!!!!! Couldn't agree more!!! Blazing through 'Cinematography' as we speak.... I ordered it a couple weeks ago. Finding nuggets of great info in it! Film Lighting is a MUST for any beginning/ novice DP. I have not read it in a couple years and will sweep through it again soon! Love the running commentary! I dropped $42k for my 'complete' SR2 Package. $35k in Lighting and Grip. $15k in Dollies and Track. $30k on a Final Cut Edit Suite. What did you drop on your SR3 and what does it include... do you have a website with your list?

5219 is a totally different animal... but in S16 that is what I do. I really try to get a 35 image out of S16.. the best I can. Money (here) is always a concern. It is difficult enough moving a client from video to Film to begin with.. so S16 is my chosen Format. Also, owning a SR2 helps!.. if I had to rent a Camera, Lights and Grip/ Dolly every Show, I would have to move to a larger city! No one here can (will) afford those expenses. I am five hours away from the nearest Rental Houses so we are looking at a Travel Day, Shoot Day and a Return Day.. Whoah.. way too much... esp. in 35. So I opted to purchase a S16 Package etc... Sure, I was presented with the RED (it was in development at that time).. but choose to stay with Film. I really enjoyed my time in Hollywood and do miss working on the bigger shows. A couple of kids changed all that and so I went for 'quality of life' over the 'biz'... but am unwilling to surrender to the 1s and 0s.... as of yet. I am very thankful for all that Kodak and Fuji have done and continue to do. With today's Lenses and Transfer Equipment you can get gorgeous S16 Images.. and if the final product is going to TV.. it is just fine.. not 35 yes.. but to me.. way better than RED etc... not to mention my one time Camera purchase is just that.. a one time purchase. Done! I think it also has to do with the workflow as well.. I love using Meters! It just isn't the same Lighting via a Monitor. One cable off the camera for the (B&W) video-tap is more than enough.. not having a 'video village' is extremely liberating! Plus, the excitement of not seeing final Image during acquisition keeps my blood flowing. Film is just plain awesome!... whether it be 8, 16 or 35 plus mm. I hope the original poster orders and reads the recommended book prior to shooting... he will get a superior Image if that diligence is done!

cont'd Shooting 7217 with an 85 rated at 120iso is a standard rating. I would rate that at 64. Usually the reason for the 85 is day exterior so I would go to 7201 rated at 25 or 32... or 7212 100t rated at 32. 7212 is a beautiful stock!!! So is Vivid 160! I really enjoy Lighting so I don't mind using larger units or having a ton of gear around a Subject.... I guess the $700 plus per roll savings of the S16 compared to 35 is worth the trade off.. for me anyway.

Yes I do.. I generally over expose all S16mm stocks one full stop. That aside, when shooting some tests for Fotokem, I found that pushing 200t delivered a cleaner image than the 500. Now, it really depends what you are shooting. What you can get away with. I try my hardest to do all Night work on the 200t... if at all possible.. giving up the one stop over exposure first, using larger lights second, shooting a slower frame rate (if possible) third... and finally pushing if necessary. S16 - Spirit - HDCam