Miguel Bunster

Thanks for the info..I will meter it. It was just a tought but the info is great!!! Thanks! Miguel

Hi, I am shooting at a location with a lot of fluorecents wchi I will change but I dont have much prep time. I want to check if the units flicker..to see if the ballast are ok. Now what a good way to check this if I cant shoot a film test. THere is alot of units so i want to find out which ones have problems. I will be shotting 24 fps and still tryiing to see what camera I will use. So far a Movicam compact. My location scout is tomorrow so I was planing maybe taking a video camera and try to match de exposure time of the film camera. Any recommendations please? My other questions is about CS4 vs Ultra Primes. Do they handle flare the same way? Thanks! Miguel

HI, Thanks for all the info! I made a test on 5218 with a LCD projector and color temp. I putted the projector with a white image and measured the temp. It was about 4500K and then I shot the test with some images. It turn out well, little cold but for what I am doing it works fine. I will try to post and image any time soon. Best Miguel

Thanks!

Hi is there any formula to calculate the Fc of a given light? I am looking into some fluorecents and cant find there Fc info all I know is that they are 40w. Is there a formula, or any way to get an idea? Thanks! Miguel

What you mean by faster focus drop off? The is less focus range back and front of the subject in focus? Thanks Miguel

Oo.. do they flare to much? I meand I will have some soft sources in frame like fluorecent lights on the roof. Thanks! Miguel David, Thanks! You posted just before I putted the question. I will have bright sources like windows, no direct light but yes... some time the lamps will be in frame and I cant do anything about flaging them out... and to make it harder I will be shooting on 24-35mm lenses most of the movie. Any ideas on how to avoid the flare? Thanks Miguel

HI, I am going out on production soon and have tested all my ideas on 35mm with standard speed Zeiss prime lenses which I like a lot. Now the thing is that I may get (almost sure) the Ultra Speed Z Set whichi si Zeiss too. I have never used them and it looks like I will not be able to test them. ANyone has worked with them? Can someone give me an idea of the differences? I understand they have more contrast. I wanted to test filters to make them much the Standards but as I mentioned, I will not have time to do this. Are they really different? I am finishing on print so I can't tweak the contrast in post. Any ideas would be great! Thanks Miguel

Hi, I am using a LCD projector for a scene where a character is watching a movie. With LCD us I understand I dont have flicker problems but another DP who shot with it had another issue. The light bounced back from the screen made a magenta cast. Any one knows why this happens and how can I avoid it please? My second question is about tungsten fluorecents. I was planing to rig some office areas with fluorecents (practical roof lights) and I have the option of going day light or tungsten. If I go tungsten I have to gel the windows (85+ND) to make them match but I gain 2/3 of a stop (shotting 5218) but it was explained to me that the tungsten fluorecents have a pink cast. It is easier to go day light and just ND windows but still looking at whats better. Any opinions on this matters would be of great help. Thanks! Miguel

I look in to it more and f ind some good info. Getting a progressive projector looks hard. So I want to get a good interlaced one with great output. About color temp I thought of reading the white output of the lampo and then gel the projector. Does someone know where I could rent a projector because I dont know which one is better fore this. Thanks! Miguel

HI, In one scene of my upcoming short film I have to film a kid looking at a projected image. I read different articles and the ASC manual about this. Any one can recommend me what type of projector to use? I been looking into diverse options. From progressive to interlaced, lumens output, color temp and so on. Any opinioons would be great! Thanks! Miguel

Thanks for the info! great! Miguel

Hi, I have to change a lot of fluorescents on a location and I know there is web page or chart that examines different brands of fictures and their color reproduction for film but can't find it. Anyone knows where I could find this info? Thanks! Miguel

Hi, Thanks for the input! The situation is this. Is a first floor and we want to see city landscape, tall buildings etc...new york type of view. I explained hoe expensive and time consuming it is but still wanted to get ideas if possible at all. Thanks!

Hi, I am testing for my upcoming film a series of things. One was the 18 and 79 pushed a stop and still rated 500 so I could print down later. The test went ok and I got impressed with one thing. I mixed in the test color temperatures and there was a lot of 4500 Kelvin to 5600 Kelvin. So the 70 rendered it blue but the 18 turned out white! I know 18 handles better mixed color situations but this was a lot! well the other things is that I was burnig out those blue areas about 3 stops over key but there was still information there and both stock were shooted under same conditions. I dont know if the over exposure changed the results but it impressed me. Any one with experience on this stocks can give me some imput please? Thanks Miguel

Hi, I am going out soon on production and have the following question. We may get a location that looks great inside but outside the windows doesn't work for the story. So it has been mentioned backdrops but afte looking into it using them on exterios with sun moving around doesn't look like an option at all. Any comments please? Thanks!

Hi, I am buildin my camera gear package and have some questions. There are some visual thing I want to do like streaks in shot by defasing the shutter, compensating exposure when I do speed ramps by shutter change during shot. I am looking at the Gold II camera which can change shutter and ramps fps with accesories but the speed ramp is not crystal sync which for me is ok because it will be exteriors. The other camera I am looking at is the millenium which has all this possibilities built in. As well I will be doing some steadycam shots. Any one can comment me on their experience with his cameras? Thanks!

Thanks! Miguel

David, Thanks so much for the info. I being going over all my notes, info and thigs, your comments are great. IS true about switching to 17 isntead of going 18.THe color reproduction is similar right? I never comapred them before. Still for day exterior I am worried of 45 because of time. I am not sure how shoret days are here in Novemeber but If I start running out of light is my concern and going to 250D is not an attractive opton. I seen screenings and some school tests and I don't Like it that Much. Best Miguel

Yea, Thats what I thought. Thanks!

David, Sounds interesting. I considered 5245 for exteriors but my worries are the short days in November, production begins the 8 of that month (didn?t mention before)..well maybe the days are not that short. Bleach bypass on the negative may be too much for this movie..but I will try to test the idea of timing the 18 the way you mentioned. Sounds great. Now if I skip the ACE what is a good way of bringing a good contrast to 18 and lower saturation (beside good light)? Sorry for being annoying but its been great help! Miguel

Hi, Just a basic question. How do you calculate the amount of film you need for a movie so you can order it to the manufacturer? I have a method which is basic. I estimate the scene and the amount of shots and then get an idea. Now I am working with a kid in every single shot! Any good experience is well come! Best Miguel

David, Thanks for your soon response! I was planning to mix stocks but I got pressed at last moment to decide and I haven?t been able to test. Ideally I am going for two looks. A glosy (not realy objective definition) metallic look and a high color vibrant look. I wanted to use one stock for exterior and one for interiors. My concern was asking for the right amount of stock of each kind with out a final script. Beside many other concerns. You think working with 5218 and 5274 creates good differences in color saturation and contrast. I have seen both I think they do but I haven?t been able to actually test them. Even I thought of shooting day exteriors with a daylight balanced stock or a 100T but all those decisions should be done after testing which is a privilege I don?t have anymore. Now I have to pick both stocks and then work out the look. My big concern of 5218 is the big latitude of the film where I want to get a snappy look to represent a Wall street feel. Even thou the ACE will bring the contrast back to the blacks. Hmm If I have to choose, mixed lighting is not my biggest concern because most probable thing I Will be able to balance the fluorescents to daylight or gel the windows to 3200K I would prefer a stock that actually shows different colors in mixed conditions because I am really planning to get the differences in exterior vs interior in color reproduction in some scene. I been thinking about pull process but that depends on budget and I may prefer to use the ACE if I have to pick. Another reason I wanted to go with a fast stock was to work on a higher stop for the steadycam shots and children to give space to focus. I seen test of 5218 and made some myself some time ago and overexposing it and printing down gave a really nice look and little grain as well as color reproduction. Now if I got 5274 for the interiors that changes a lot of things, like what stock I will use for exteriors. Most probable thing is 5218 now that I think more of it. Any more suggestions are great! Thanks! Miguel

Hi, I am in a tight situation where I need to decide what film stock I will be using for a project, I have to decide tonight even thou the project will be in production later. I am between three stocks which I wanted to test and see which represented better the look I want but that?s not an option any more so any recommendations / Observations on the following would be great! I thank you in advance for your time. 1-Ideally I want to use one stock for the whole production. 2- One of my biggest concern is a location which takes half of the story. Interior Office (all day interiors, steadycam) with a lot of windows, big windows which will be in the shot and many times we will shoot directly into them. I want to over expose the exterior for about two stops most of the time and the interior will be fluorescents balanced to daylight with HMI most of the time, in different parts of the story I will switch between warm exteriors, cold interiors and vice versa (like Network and Wall street). This will be through gels on windows and changing the interior light balance. 3-For the office in general I want to get a monochromatic look (a lot will be done in production design) which I plan to do through timing and light. 4-As well I want to get a contrast image and keep color saturation not to high for the office. 5-In the opposite of this the day exteriors will be colorful to an extreme with big contrast, popping greens etc. 6-As much as possible I don?t want to much grain and deep blacks. 7-Most probable thing I will be doing a ACE (50% silver retention, not 80%) on the positive at deluxe to take a little saturation out and get a more contrasty image, depending on tests I will print on premiere or vision. 8-The stocks I have been looking at were 5274 (Vision 200T) ? 5279 (500T) and 5218(V2 500T). in the case of the two later stock I am planning to overexpose 2/3 of a stop and print down. With the 200T overexpose ½ of a stop and print down.to get deep blacks. Ideally I don?t want to see much in to the blacks. 9-Most probable thing I will not pull (only maybe for one scene to desaturate the image, night interior plus over exposing 1-2 stops) and in few scenes push plus overexposing. But 90% if not a 100% of the time I will process normal. 10-5218 vs 5279. I go more toward 79 for this project because I feel 5218 may have too much latitude and the color saturation is lower which added to the ACE process will make the saturation low, as well 79 is more contrasty and more saturated but has more grain. I wasn?t able to compare both so I cant tell if the grain difference is huge. I have worked with 79 before not 18. 11-5274 I really like this stock but I am concerned with balancing and having enough light to get the interior exterior in the office in the range I want. In theory I will be able but depends on budget and etc. AS well I have never used the vision 2 200T any opinions on this Stock? 12-I don?t know which of this stock works better under mixed light condition and at the same time if I get the budget to balance light the way I want, I want to have a stock which separates color strongly. I feel 79 or 74 are good for this. If anyone took the time to read this big thread thanks! Any help would be great. Best and thanks in advance. Miguel

what about the Kinops Gold tubes? Miguel