Miguel Bunster

Over Heating is a big Issue...in many cameras I shot in Arizona with two F900 which would shut down every 10 minutes because of hit. The ac had to use dry ice and a fan to cool them down, sound went down as well. We were not under sun all the time. A lot of times int he shade and they would shut down. I dotn know the red cameras but F900's after years in the filed shut down by oitself when overheated.... M ps:got similar problems with other cameras where they wouldnt shutdown but do weird things...but in those cases looked like mulfunctioning.

Hi, Thanks for taking the time to look at it and for your comments! The known actors some are from a AFI thesis film and the other of a feature... And its a mixture of dv,hd,16mm,35mm Thanks for the input! Best M

Bloody Hell! www.mb-dp.com

Hey got a new reel and being cutting for a while. Still working but pretty happy with it. I would love to hear some input form you guys. Thanks M

Patrick, Hi when working 35mm print I have used the camera only and a digital printer. I dont retouch the images becasue I cant do that on aproint. At most color and exposure and generally I will set the picture to put the skin where I want it and the rest fall off. In my case it has worked greatly for two things. First on set people can see a reference of hwo thinigs are gona look (specially with bad video assits) and they feel better and see where I am going. And second for example when I printed at deluxe (which were great with me) one time i didnt send the still and i had this really dark scene which with no notes they printed up and looked like day! so i showed them the still and re-printed the dailies for me and look really close to the still. The same with CFI. And interestingly its really close (highlights are off and some dark dark shadows). David, I was underexposing 3 stops but actually rating 320 so it was m ore 2 1/3 under. SO the information is there but the contrst in the scene bewteeen a "correct exposure area" and the hadow was 3 stops difference. I know one can increase the contrast in post but I like to do as much in camera it just feels different to light 3 under in realtion to another area to the image than to darken the shadows later. Thats my impression but would love to hear your experience in this and learn some more. Best of all M Ps: any opnion oin the images would be great input. M

no one? m

Hi, I got back from a shoot her ein CHile and all well. I haved used my digital SRL before (on 35mm) on projects where I finished on film and worked great with the lab. Now I did a film test (7218) where I checked the latituted and I felt that the representation of under and over was diferent of what I had on print tests even though the timer on a Da Vinci set the test to look right on the grey card I had as correct exposure and let the rest fall there. Didnt feel or look the same as if 3 stops under was brighter.... ANyway I wanted your opinion on 3 under in 7218. I have done this a lot before on 5218 and still got some detail in 3 under...4 under blacks were getting pretty black....but still some time I got detail up to 5 under.... I attach a picture of a DSRL compnsated for exposure where the blue is 3 under....for me it looks right..even though i will be going to the telecine soon. I am rating the stock at 320.... Ps: On my test I felt DSRL images were slighlty brighter or higher in contrast. Any opnions would be great Thanks M

David, thanks for such a spot on answear! I was looking into the Mired think now actually and I got a hold again of a Lee swatch book. Thanks a lot! Best M

Hi, Just checking something. Some times when using gels from diferent manufactures I get different kelvin readings even thoug the gels are for the same...small shift...a 100K here and so. But in general I always had in mind a full CTO will shift 5600K to 3200K.....but one CTO gel goes grom 6000K to 3200K....and anyway I stick to the ones i use but for example a 1/2 CTB would take a 3200K lligh to 4300K right? And a 3200K light with full CTO should shift to 2000K aprox or 1800K...? I jsut wanted to check if I was on the right track here...this jsut came after testing some stuff with similar names and going through things...a doubt came in because I am doing somethign similar which I have done before but something came of.f I am shooting day interior correcting in camera and I want to get sun rays with 10k tungsten units. with the 85 filter on camera they should go down to aprox 2000K. And may want to bring them back up some ties a little where I would ad a 1/2 CTB to get them around 2800K (adding the 85 on camera)....This sounds right to me but wana double check with anyoen who has the time. Thanks! M

Hi, thanks for your replays. I thought it was gate/mag issue but my 1ac mentioned it could have been a lab problem. A lab here known to do bad developing specially on short films....they dont care to much.. M

Hi, Is an SR3 and could have been because I loaded the camera and the buckle may have been loose. havent loaded this camera in ages....gona check with the first AC. Thanks! Miguel Hi, Is an SR3 and could have been because I loaded the camera and the buckle may have been loose. havent loaded this camera in ages....gona check with the first AC. Thanks! Miguel

Hi I tested the camera (more exposure test) but when i did the telecine all good and high end monitor but when i watch a dv video of the test which is full frame I see this pink line on the left side (image attached). Its out of the safe area but still wanted to ask any ideas about what may cause this. Thanks M

David, I do agree. The stock question was for just knowing and not trying to replicate. And this is something I tated to the director that it will not look like that for the diference in format, dof etc. I wante to know more about how the DP aproached the exterior work specially some dawn scenes where everythign has a pale blue/green fill and hwo he lit the day exerios. I watched the movie carefully and a lot fo the day extwork was lit. Felt like they block the antural light and relit the people and a lot fo time a little warmer than the enviorement. There was always a warm soft light frontal or in an angle.My resources will not allow me to do this and its not my intention but really liked alot of the work done in the movie. generally I like to work in exterios with big frame bounces more than lights even though some look of the fil requires to light the exteriors...now how i wil eb able to do this in the right way with a couple 10ks (gelled to ctb will be more like a 5k) and a 12 bulb brute (650 wats bulbs in 5000K range)will be interesting. But none the less i wanted to read hwo he aproached this. Thanks! Miguel

David, Thanks for your replay once again. Thats what i have come to after some time of shooting. following what you said I have leaned to underexposing the shadow two stops in 18, some feel si to much but my actors are lighted skin and incident wise is two under but feels really good to the eye and this time I am going to telecine not a print. How do you feel about 18 un this regard. I like it a lot and after some time have become sure enought to light by eye with it and I measure one place of the frame and let the rest fall by eye. best Miguel

right. I understand what you say. I was curios about scenes (like the picture) where no sky is in shot but trees and similars are backlit. Best M

Hi I have been searching for information on Pride & Prejudice shot by Osin. I remeber reading about the cinematography but cant find where and I am off in Chile now with no access to by magazines...anyone knows where i can find more info about it please? As well I am shooting with 7218 which i made a test (and have shot before in 35 a lot) and like its feel and grain in s16mm but the director is concerned about the grain of this stock which i am not but got in my head.. I havent shot vision 2 200t in 16mm for some time but feel the grain is not that smaller than 18 but wanted some feedback please. We are shooting 7218 going to telecine and finishing on an HD master (maybe a blow up from this to 35). Thanks Miguel

Hi, I was reading this post and find it really helpfull. I am shooting a film on 7218 and a lto takes palcec with low sun or sunset sun but a lot of shots doont include the sky more backlit trees, tall grass etc and I do a similar thing for exposing this where I under expose two stops to expose the backlit elements well (even if they come a little higher) and the faces or elements toward camera two stops under which i think in 18 give a nice shadow detail that doesnt feel super dark but in shadows. I would love to hear how some other people aproach this. thanks M Image attached...

Hi, I am about to shoot a film in s16 and we been considering using a 2.39 aspect ratio. The director has a plan of blowing up to 35mm and there is not anamorphic adapter here for s16mm and the way I considered doing it by cropping the image in post to get the 239 aspect ratio and explained that if it goes through and HD master (or DI) and then blow up it could work. I have reearched this and makes sense but never done it in s16mm. I would loose a lot of vertical resolution by the cropping process but then it would be printed in 35mm cropped. ANy1 has done this or have any references or eperiences in this please? Thanks a lot Best Miguel

Hi, I was checking this thread because I am shooting in Chile with an SR3 and want to test it today. What I want to test is a registration test, lens test and magz. This thread is great for registration test but i wanted to shoot 25ft first and after telecine just overlay the same clip but offset the time by 1/2 a second so i can se relative movement (and offset the video placement). I knwo its not ideal but moeny is an issue so cant print or shoot to much film. I think it can work pretty well (resolution is low to judge any minor movment).Now for lense test i am ussing the Carl Zeis super speed and wanted some recomendations to test them. (Once agian not much film to do so). I was planing to concentrate on testing the wider apertures for any aberrations. Any ideas would be epic. Thanks! And well gona scratch test the magz and see any light leaks. I know ideally a lens test should be longer but budget wis i got like 300ft for this test.... ANy input would be great. Thanks very much! M

Hi, yes you are right. That was my idea combinie both units but use the 10ks for hard sun rays and the maxi brutes in a similar angle through diffusion as well I can correct this ones half ctb or 3/4 and have a directional day skylight (or use 5000K bulbs). But now need to check the generator capacity. Thanks for the support! M

Thanks david for your replay. Thats what I thought and as well I may get some maxi Brutes which I will use as well. I will post some images when done. Best of all and thanks! M

David, thanks for your replay (as always). There are 3 windows and each is 2.5ft*6ft and each window would take a 10k. I think I should be fine but trying to get the 10k because production may want to pay for 5ks. I am testing the exteriors on 7218 this upcoming days and i have shot 16mm on 79 before whici I like a lot and felt it handled exterior really well with its grain and all. What would be your experience/opnion on 18 on exteriors and magic hour. I feel good about it but would lov eto hear your opinion on this. Thanks! Miguel ps:and well I am using 1/4-1/2 clasic soft.

Hi I am shooting soon a film here in Chile on 7218 and 90% is exterior work which I plan to ligh through bounce and grip things but there are some interior day scenes (most sunrise scenes) which I want hard sunlight coming in and I plan to mix cold dayllight (from skylight) with warm sun rays coming in. I was planing to have HMI (6k Pats) but here in CHile they are expensive as hell and each light comes with an operator! so budget wise I drop them and rented 10k or 5k tungsten lights which i plan to use uncorrected for the warm sun light. I have done this some time ago but wanted to know peoples experience of doing this on location. Interior sunrise scenes where skylight will be cold uncorrected and tungsten units will be warm (in some camera will have 85 other no). I should be fine woith 10 K corrected 1.4CTB to get a couple stops over exposure. ANy ideas or experince in this would be great. Thanks!

Hi i am researching something i just only read about here and there but i am looking in different cameras (or setups) for 3d films (not 3d animation). Of course there is the high end james cameron HD setup but i am interested in looking in to lower end ways. Any hellp would be great. Thanks.

Excelent! Thanks so much! Miguel