Vincent De Paula

Thanks guys, I'll be trying to get some faster lenses but I think we'll be end up using the Canon zoom lenses... If that's the case I want to make sure I can get as many possible sources as I can. John, thanks for the grabs, although the depth of field and the grain will obviously be different with 7218 and S16mm. What sources did you have on that particular shot? There will be some establishing wide shots in Waterloo bridge, and then I'll be moving closer to follow a girl being chased and I will be using longer lenses for that chase and some handhold work. The rest of the night EXT shots are going to be easier to handle and I will be following the actors with moving sources. We'll start filming in about 3 weeks now, and I'll let you guys know what's happening...

Hi guys, I am filming a Feature Film in S16mm in London next month. We'll be shooting everything at night since the action happens between 2am and 6am in the morning. I will be bringing come chinese lanterns for the EXT shots in the street at night since there won't be a big budget for other sources. There are street lamps that I will be very happy to use as well. I have used 7218 stock extensively in the past although always in a more controlled situation where I always had enough lighting fixtures. I am a bit concerned mainly about the size of the grain shooting in such low light enviroments. Also I will be relying on Canon zoom lenses mostly, and the widest I can go is T/2.4. I usually rate this stock at 320 ASA and have been quite happy with the results. I will most likely use 7217 for the INT shots. Have you guys use 7218 in a similar lighting situation? Thanks Vincent De Paula Director of Photography (EU based) +44 (0)7766 913932 +44 (0)1932 843806 vincent@vincentdepaula.com

Hey Rob I was wondering how the Pulnix camera is performing on your Aaton. I need to get another video tap for my XTR and since I'm also based in the UK I was wondering if you could telll me where did you get yours and how did you install it. Thanks

Hello , I am filming a S16mm short called Red Hood. We are getting the rushes from technicolor UK on digibeta. The director would like to desaturate the colors completely leaving a B/W image but he wants lo leave the reds on. This is called Red Hood, and it?s the fairy tale story used as a canvas for this project. Since there won't be really a budget for a DI, I was hoping to get as close as possible to this idea in a TK grade, mastering hopefully to HD mainly because I was trying to avoid any tape to tape grade if possible although now I'm thinking this may be a job for a Flame, Smoke, Inferno, Combustion, Shake or similar. Perhaps grading normally and do all the color desaturations later on. We won't be scanning back film. I would appreciate any other suggestions you may have. Thanks Vincent De Paula Director of Photography (EU based) +44 (0)7766 913932 +44 (0)1932 843806 vincent@vincentdepaula.com www.vincentdepaula.com

Hello , I am filming a S16mm short called Red Hood. We are getting the rushes from technicolor UK on digibeta. The director would like to desaturate the colors completely leaving a B/W image but he wants lo leave the reds on. This is called Red Hood, and it?s the fairy tale story used as a canvas for this project. Since there won't be really a budget for a DI, I was hoping to get as close as possible to this idea in a TK grade, mastering hopefully to HD mainly because I was trying to avoid any tape to tape grade if possible although now I'm thinking this may be a job for a Flame, Smoke, Inferno, Combustion, Shake or similar. Perhaps grading normally and do all the color desaturations later on. We won't be scanning back film. I would appreciate any other suggestions you may have. Thanks Vincent De Paula Director of Photography (EU based) +44 (0)7766 913932 +44 (0)1932 843806 vincent@vincentdepaula.com www.vincentdepaula.com

Hi guys, I have a job coming up in London at Malcom Ryan Studios shooting on HDcam with the 750. This is a green screen job where a forklift car is driving towards a pile of boxes lifting them and moving them off screen. The idea is to green screen all the boxes as they are going to be showing some footage, all boxes displaying different footage. We also want the rest of the frame very white and even. The studios are very big and will have access to all sorts of lighting equipment. The trick is not to cast any shadows in the boxes when the forklift car is approaching them and moving off screen so that the green screen will key propertly. This is going to be a locked off shot and very wide. I am going to rely heavily on spacelights and will try to avoid shadows by throwing them to the floor... There will be other shots where I will be using green screen on a woman who will later on be coming out of the pile of boxes. How would you guys approch the lighting for this kind of job? Also, what settings would you choose for the 750? Thanks

Hey Gareth, I've been filming with 7218 in my last 2 jobs and I am very happy with the results. Nowadays all film stocks tend to have a pretty low contrast, and although it is true that you can alter this in post, the contrast is mainly achieved when lighting. You can find examples of different stocks in the kodak website. Maybe you could elaborate more the kind of set up you are planning. If you want to gain that extra stop, I'd suggest go with 7218. my 2 cents...

I've used Betacam SP many times in the past, and ocassionally still use it for some work going straight to the US. I have a Sony DSR 500 as part of my equipment. I do not like to use any prosumer DV cameras... Using the cliche, most of the look and quality of the picture is going to be dictated by your lighting and composition skills, but apart from all that, I like Betacam SP better than DVcam. It is true that with DVcam you don't get the dropouts and head clogs of Betacam, but I like how it renders colours better than DVCam. Of course Digibeta is far more superior than these two, and I personally try to use it as much as I can. My 2 1/2 cents...

Nice work Adam! I will definitely try them out. Thanks

And also the fact that we like to share our knowledge and pass on all the information, tips and techniques learnt troughout the years. Vincent

I saw The Squid and the Whale the other day. I didn't particular love the handheld camera too much. I found it distracting and many times unnecessary. The film was shot on S16mm with an Arri SRIII and blown up to 35mm. They used 7218 and 7246.

7218 is the stock the producers already had before I became involved in the project. There are short ends now that they want to use for these scenes. There isn't a lot of budget, and I have already asked for a more contrasty stock... thanks Yes, but I thought of bleaching away the image so that I could have more light for theses particular shots and get a better exposure on the negative. Thanks for your reply. Hi David, Yes, that is the same reason I had for thinking of a magenta filter. I will try to run some tests because I also want to try to use primary red gel and then add some other light sources in the scene. thanks

Hey Daniel, My idea is to time to red in post the pinkish colour given by the magenta to emulate the look of the dark room. Thanks

Hey guys, I have a shot coming up on S16mm in a dark room. Basically we are filming a photographer's reaction when she sees a print being developed. I'm planning on using a magenta gel on my lights, since I think using a red gel will only affect the red layer of the negatine, and the picture won't be as sharp as with the magenta gel, where the blue layer will also react to it. The director wants to have a very contraty feeling, with deep shadows, so i think i won't be adding much fill there. Now the tricky shots are the ones for the print actually being developed. I have come up with an idea, and I'd like to know if someone has done it before. I'm hoping to develop a print normally and place it on tray of ferrocyanide bleach, so it will bleach the picture away while I'm filming this and then in post we'll reverse the shot. The effect should be there. Aslo, this way I can use more light in the room and I'll just print down later. Another alternative would be to bleach the picture away and then re-develop it again so there won't be a need to reverse this. I'd like to know if someone has tried this before, and also if someone has used a magenta gel for this kind of shots before. We'll be filming on 7218. Thank you in advance.

Hey guys, I have a shot coming up on S16mm on a dark room. Basically we are filming a photographer's reaction when she sees a print being developed. I'm planning on using a magenta gel on my lights, since I think using a red gel will only affect the red layer of the negatine, and the picture won't be as sharp as with the magenta gel, where the blue layer will also react to it. The director wants to have a very contraty feeling, with deep shadows, so i think i won't be adding much fill there. Now the tricky shots are the ones for the print actually being developed. I have come up with an idea, and I'd like to know if someone has done it before. I'm hoping to develop a print normally and place it on tray of ferrocyanide bleach, so it will bleach the picture away while I'm filming this and then in post we'll reverse the shot. The effect should be there. Aslo, this way I can use more light in the room and I'll just print down later. Another alternative would be to bleach the picture away and then re-develop it again so there won't be a need to reverse this. I'd like to know if someone has tried this before, and also if someone has used a magenta gel for this kind of shots before. We'll be filming on 7218. Thank you in advance.

Hey Gareth, How you doing buddy? Long time no see... Yep, Film Camera Kit, they have their website too. I'm trying to get some on-board batteries from them for my Aaton. Take care.

I very much like my Sekonic L558C.

Thank you so much for your help Nathan. I envy your knowledge! Regards

Hey Nathan, I'm using the camera's on-board speed dial. I'm pretty sure this is the XTR Plus, and it states P23-X on the motor cover. There is not setting for 60fps though, and like I previously said, it can go all the way to 75fps (as it says in display) withough a magazine on. If left in the same spped on the speed dial but with a loaded magazine it will go down to 54 fps. I was running these tests at 12V. Thank you again

Hi guys, I've been making some tests on an Aaton XTR for un upcoming shoot on S16mm. When running some speed tests, I noticed that the camera was capable of running up to 75fps without a mag on, or with an empty mag on. When it came to run some film, on the same setting, the camera was only capable to run up tp 54fps. I wonder if there is any logic to this. The Mag is driven magnetically from an intermediate drive connected to the camera motor, a magnetic wheel on the inner side of the camera body couples with a similar wheel on the throat of the mag to transport the film. Would the issue be there? Thank you kindly for your answers. Best Regards

That's a Wrap in Shepperton would have pretty much everything you need. http://www.taw.eu.com/ They are also very competitive with prices and whatever they don't have in stock, they'll get it for you. Take care

Hi guys, I'm going to be filming some timelapse shots on S16mm soon. Some will be shot at night and some during the day. The location is London, UK. What I'm trying to achieve with the night shots is mainly focusing on traffic head and tail streaks moving very fast on heavy traffic roads. During day shots I'm mainly after nice shots of London skyline and focusing mainly on clouds moving. I have an intervalometer available to achieve this. Won't be using it for the night shots, as I'm planning on filming these at slow speed. I'll be using an Aaton XTR with fixed shutter angle. My question is basically which locations would you guys choose for shots like these. I have some in mind but would like some input from you guys if you have done something similar in London. Also, if you guys have some tricks for timelapse filming (on S16mm), it would also be appreciated. Thanks

Yes I thought about the PS, but I know I saw a mount some time ago to do this. I'm not trying to achieve anything in particular by doing this and I know about the differences between the way these lenses are designed but I tought I should try something since I already have the lenses available. Thanks

Check Ascent Media group. You can try Todd Ao UK and Soho Images.

Hi Phil, Not really looking to gain anything but mainly curiosity to see if it can actually be done. I have a decent Fujinon 9-144mm with 2x extender in the camera but was hoping to increase the number of lenses I can use with it, and also see what I could achieve. Thanks Vincent De Paula London based DP vincent@ambospictures.com