Vincent De Paula

I arrived early this week in Oslo, Norway, to finish prepping my next feature called “The Will” which will be shot in the surroundings of Copenhagen, Denmark.

Director Alexander Chapan is also the writer of the script, and we have been in touch for many months now talking about this film. Initially they were going to bring the feature to North America and considered shooting in New York and Vancouver, BC, but in the end it worked out better for them to keep the project in Europe.

This is a very character driven feature, with many characters in the script and all the action taking place on a vacation home in a private island. Although we always thought of the project to be shot on 2 perf 35mm, we will be shooting now with the Red Epic with a 2.40:1 ratio. I like shooting with one camera setups as much as I can, and we will have another camera ready when I decide to go with two.

I have decided to shoot on 5K 2:1 and frame for 2.40:1 so that we could alter the size of the frame in post if we needed to do so. Most likely I will be shooting at 5:1 compression, except when I will be wanting high detailed shots, most likely on wider shots. I want to take advantage at times of the HDR capabilities of the Epic so I will be switching to that mode at times, although not very often.

All the camera and lighting gear are provided by Dagsljius, in Sweden, who have giving us a great deal too.

All the crew will be local, based in Sweden and Denmark. I am this week finalizing the crew and meeting everyone.

The location is based on a private island, and to be honest it feels very small for the amount of actors we have, so I will be trying to move some interior scenes to the outside. Hopefully the weather will be kind to us, although I am expecting rain and wind.

Most of the actors are coming from the US, so it will feel like being on a US set. It is great to be in a different country, a different continent with different culture, history, but when you enter a film set, there is something that makes you feel at home, no matter which country you are filming in.

I am off to Sweden today and will head to Denmark after that. There have been some problems with the location, and we won’t be able to scout as much as we wanted.

We are going to be very naturalistic with our approach, and go for longer shots than usual, to let the action develop in front of the camera.

I'll be posting updates regularly.

PR is the minimum you need to apply for the union. I am moving to Vancouver in a few months and I am planning to join.

I have an Indian producer looking to buy an Arri SR3 camera package.

I am due to shoot their next film next year in Mumbai, and they have asked me to ask around for this.

They are after a complete kit with all accessories and a set of prime lenses and perhaps a zoom lens too.

They usually shoot on 35mm and they want to have their own S16mm kit to continue shooting their features on film with their own gear. But the idea is that they get a complete kit, so they won't need to hire from anyone.

If anyone is getting rid of a package like this, or know someone who is, I'd appreciate the information.

Thanks

Vincent De Paula

Cinematographer

UK / Canada

vincent@vincentdepaula.com

Hi guys,

I will be relocating to Vancouver at the end of this year, with my wife whos is an editor.

We are currently in London, UK, but I feel that Vancouver would be an awesome place to continue my career as a cinematographer apart from the obvious beauty of the area.

I wanted to ask the local crew people from the Vancouver area here if they could tell me what the climate is right now in the industry over there. I am a Director of Photography with plenty of experience having shot features, commercials and music videos mainly. I have an agent in Los Angeles.

Thanks!

Great looking stuff as always David.

It's fab that you have such a good (and fast) prod. designer and the fact that you can work with those colours already on set.

I will be doing soon a fair amount of work on the Red One camera, so I appreciate all the information.

Keep the good work!!

Just used 7219 (rated 400 ASA) and 7217 (rated 160 ASA) on a S16mm film. They both matched very, very well. I have also shot 5219 pushed 2 stops, and it's amazing how good the picture sharpness still was. There is a great reduction of grain which is desirable for projects originated on 16mm.

It depends on the lens. Generally, rear-mounted nets give a much more subtle look with less danger of the net pattern coming into focus. There are fewer "threads" in the light path coming across the smaller rear element. In front of the lens you tend to get a heavier diffusion effect because there's more fabric in the light path, and the larger the front element the the heavier the effect. There's a higher risk of the net pattern becoming visible when the depth of field is high, and you have to be more careful about flagging stray light off the front of the lens (as with any front-mounted diffusion).

Thanks Michael.

I'm considering using the nets on a music clip I'm shooting on S16mm trying to recreate a look from an old music clip from "The Jam". Otherwise I might rely of diffussion filters.

It depends on the lens. Generally, rear-mounted nets give a much more subtle look with less danger of the net pattern coming into focus. There are fewer "threads" in the light path coming across the smaller rear element. In front of the lens you tend to get a heavier diffusion effect because there's more fabric in the light path, and the larger the front element the the heavier the effect. There's a higher risk of the net pattern becoming visible when the depth of field is high, and you have to be more careful about flagging stray light off the front of the lens (as with any front-mounted diffusion).

Thanks Michael.

I'm considering using the nets on a music clip I'm shooting on S16mm trying to recreate a look from an old music clip from "The Jam". Otherwise I might rely of diffussion filters.

Hey Vincent,

 

There are some net holders which screw into the back of primos. It works in the same principle as a painter's canvas.

 

Cheers

S

Hey Serge,

Do you know where I could find those in london?

Thanks

Hey guys,

What you guys ussually prefer to do when mounting nets behind the lens on film cameras. I am actually using rubber bands and snoot tape, just wondering what others do. ALso, what are your views when comparing nets in front or behind the lens?

Thanks

Hey Sergiu,

How much are you asking for and where in Europe are you?

Thanks

I have for sale a S16mm Canon 300 / 600mm T 2.8 with extender and filters with a C mount to Aaton mount adaptor. Can be converted to PL mount very easily to use with the Red camera or any other PL mount film camera.

I got this lens from a wildlife DP in Spain a couple of years ago, and only used once for testing, since I mainly do drama work and prefer to use smaller focal lengths.

It has been kept safe and never hired out. Perfect condition!! I'm currently based in the UK.

Regards

Her's a link to some stuff I shot this year on 7218 rated 320ASA with an 85 filter on for the outside shots. I had NDs in the matte box. The framegrabs are from DVCam rushes cloned from the Digibeta dailies.

http://www.vincentdepaula.com/VDP%20DOP%20...0Red%20Hood.htm

My 2 cents...

Got this book from Samuel French Bookshop in Sunset Boulevard in L.A.

and I highly recommend it. I don't think they have updated it since.

Thanks guys for your feedback,

The filming will happen at the end of September now, since the producer wants to wait for me to come back from other commitments, which is always nice and appreciated, and will be filming on the F900 or the HDW 750P. We considered S16mm as well, but in the end we'll go for a HD approach.

I'm pretty sure we'll be filming in the Aldwych area as well as a couple of sets. We'll be taking gennies with us and mainly rely on Kinos. I took my Nikon D200 the other day and the colour temp varied from 3900K to 4500K depending on line.

Hi,

 

This is a suggestion since I've never done it, and I can't guarantee it, but can't you just call the punch at the reel head zero timecode and work from that?

 

Neg cutters can work from zero indexed timecode on each lab roll, can't they?

 

It is less bulletproof than KK, obviously, but it's probably less error-prone than attempting a manual assembly.

 

Of course you could also just go back to telecine for a couple of hours and reindex all your rolls for flex... which is what I'd do...

 

Phil

I'm currently thinking of that too Phil. Going back to the punch hole and work it from there...

Thank you guys for your feedback.

We will definitely have a generator with us to provide the power. I will know more information tomorrow, since I'll hear from the producers. I know they have a specific area in Aldwych where they do all their filming. I'm hoping to go to locations pretty soon and I will taking some digital pictures with my Nikon D200 so I'll be able to check the color temperature. I'll post the information once I know more.

Thanks again

Hi guys,

For the last S16mm film I shot we didn't get any flex files with the rushes from Technicolor but we got keycode numbers and feet and frames burnt ins in the picture. The producer has now managed to get a deal for a DI and I'm wondering what the best solution would be to link back to the original negative. What I have in mind is for the editing people to manually write the keycode numbers in the EDL that will come off the Avid. Is that the best approach? I would like to know if some of you have come across the same problem before and how did you sort this out.

Thanks

Hi Folks!

I am selling my Aaton XtrPlus package. The camera is just serviced by Abel and includes: 11.5-138 mm Canon Pl mount Lens, B& W video Tap, 4 Batteries, 2 Mags, Micro Force, 2 Sided Follow Focus, 5x6 Matt Box, set of filters, Variable Speed Control, Sachtler Legs, Cartoni C20 Head and Flight Cases. If interested please call me at 646-206-7966.

Thank you,

Axel

Hey Alex,

Would you be interested in selling the camera body only?

Hi guys,

I have a shoot at the end of this month in the London Underground with 2 HDCam cameras. The majority of the filming will be in two carriages as well as the cabin of the london tube. This will be moving at all times. The style will be close to the series "24".

I'm wondering if you guys have any experience shooting in the london tube, particularly in the carriages. I think We'll be relying heavily on Kinos for this, and I'll try to figure out where to place them. Also, does any of you guys know what CRI and temperature have those lights present in the carriages?

Any advice would be appreciated.

Thanks

A great man and an outstanding cinematographer

We are losing soome of the best lately...

R.I.P.

Hey Dan,

There is no compensation but be aware of the strength of the filter. It can look awkard if too strong. If you are shooting on video the effect will be stronger than on film.

Also, on wider shots you'll be better off using a lighter one than in close ups.

It obviously depends on what you want to achieve with them.

Take care

Nice to hear from you John. Hang in there.

My "3 year old" niece has just recovered from a cancer in her right kidney. Her positive attitude has been her cure really, and that's what all doctors have told us. Although she didn't know much of what was going on, but I believe if you keep fighting you'll end up winning the battle.

We are all missing you.

Thanks evryone for the input.

I'll rely more than I initially though on the wide Zeiss lense, but will REALLY REALLY REALLY REALLY try to get some more Primes of these series...

I have now managed to get hold of a 9.5mm Zeiss Distagon T 1.3...