Michael Kubaszak
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Posts posted by Michael Kubaszak
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Kodak and Fuji stocks go up against Canon 5dmk2, 7d,1dmk2, Nikon D3s and panasonic Gh1. All Zeiss glass.
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What I'm doing for my film(shooting 5000' of 35) is after processing, doing an HD telecine of all footage to a hard drive in pro-res HQ 4:2:2 files.
check this out:http://www.cinelicious.tv/?page_id=11
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My understanding is that you need to overexpose by at least 2/3's for it to be effective.
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what you do when an actor can't hit his mark.
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It gets better. Short ends. They start at 200' lengths. They roll like 400 footers do in a 4-perf camera. You can get them easily for $0.10 per foot. For your grade of production snip tested rolls would be better. They will only add a couple cents per foot and give you confidence that you're not shooting chancy stock. One of our posters, Bruce Taylor can rent you good cameras. Arri and Panavision have 2-perf movements for rent. Abel Cine Tech can rent you an Aaton Penelope.
Do those short end/recan places really have more than 20,000' of 35 on hand all the time?
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Hello everyone!
We recently submitted our first short film to a competition, The Doorpost Film Competition. Our film is called "Retrograde" for those who are interested in taking a look at it. Obviously I have no idea if we are going to make it into the top 20 at this point, but I'm fairly confident we have a good chance. If we do and make it into the top 5, we would be funded $40,000 to make the final round film. Regardless what happens, I want to start making sure I'm completely prepared to take on this big project, and will feel confident in doing so. I am going to do whatever I can to shoot this on 35mm, but it will be my first movie shot on film. I've been shooting still photography on film for almost 10 years, and have a strong understanding of how to meter and expose for film. My AC's have experience shooting short films on film back in school, so in terms of prepping and loading, I'm covered.
The problem is our idea will turn out to be very difficult to fit within the budget, so I'm asking for help in all aspects of taking on this big task. For a 20-25min short (4 day shoot), I was thinking I will need between 13-16 reels of 1000' stock. Is this a good estimate? And how much should I factor in for the cost of stock and processing? (Scanning and DI color correction will be free for me through my work, fortunately and I will get a partial discount on the stock if I order through my company) What's a good rule of thumb for calculating out costs for the film and camera equipment I will be needing? How much film you need completely depends on the script. Considering 1 page per minute you have a 20-25 page script. Which I do agree with David that a 10:1 ratio would be great if you can afford it, and 7 or even 6:1 ratios can be done if you plan meticulously. Although you're looking at 13k w/o a student discount, just on the film. I'd say you're camera rental would be about 2.5k a day and a rental week being 3 days, so 7.5k. Processing will be over 2k depending on where you process and their rate. You're already over half you're allotted budget. may I suggest super16 now?(20,000 ft for under 3k) :) I mean you could shoot with a Arri BL4 or other older cam and save money that way but what is killing you is the amount of 35mm negative you need. 3-perf or 2-perf is a good way to save money and still shoot 35. 3-perf knocking down negative costs to about 10k and 2 perf at around 7k. And with 2-perf you're locked into an aspect ratio that might not serve the story or it might serve it very well. We're not even talking telecine or DI yet. An HD telecine can cost anywhere from $275 to $500(or more) per hour. And the general rule of thumb is you take how many minutes of footage you and multiply that by 3 and that's how long the telecine will take. For example: 20,000' will be about 10 hours of telecine time.
Also, in terms of the actual camera, what are some major factors in choosing one, as most are around the same price and seem to offer similar features? I won't be needing any sound recording capabilities, since I'll have dual system audio. If you are going to stay on a 180 degree shutter and shoot 24fps forward, the camera is really just a light tight box with a lens. Yes an Arricam, is great but a 535 or BL4 will do the job just fine. If you still can;t choose go to the rental house you're going to use and ask them to show you each camera and 'test drive' it, see which one you like better/
I will not have enough money to shoot tests, and I will not be doing any special processing since I can't take any chances. For picking what stock to use, I'm just going to do a lot of research, watch a lot of movies similar to the style we're going for and taking note of the stocks used, then make my decision based on that since again, I cannot afford to be renting a camera and spending money on reels of film on days we aren't shooting for the movie.
The last question is about lenses. The only cine lenses I've used are Zeiss Super Speeds. I believe they were either Mark I or Mark II... they were Distagons with triangular aperatures. I didn't like them much as they were far too soft almost like a ProMist was in front of the lenses, and they just didn't have a sharp look. However, they were rentals and could have been just a bad set. What's the best way to test lenses and make a selection? Will the rental houses spend time doing lens tests with me at the rental shop so I can make a decision or how does that work? Oh and I'm wanting to go with anamorphics since it's the look the director and I want (its going to be a sci-fi).Anamorphics are going to be really expensive. Cooke S4's and Master Primes are very good and a heck of a lot cheaper. Again ask the rental house if they can help you choose which set of lenses you want. Also, I'd wait to actually win the thing before going to the rental houses and telling them you have a budget and that you are shooting. If you want to go in before you get the news, I would pose it as a "hey I'm starting to shoot shorts and I'd love to shoot on 35 before it's gone. Id there any time that I could stop by and have someone show me some 35mm cameras and why I should choose X lens over Y lens?"
I may be asking a lot, but like I said, I'm planning as far in advance as I can so I feel completely confident that the shoot will turn out exactly as I hope. Also maybe this thread can be a place for all first time film shooters to learn what to plan for, do's, don'ts, etc etc, of shooting on film. Thanks everyone!
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Wow, Karl starting a flame war. SHOCKING!
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There are a lot of factors to consider here. It will partly depend on how you are finishing, and at what stop you will be shooting at. If you are making 35mm prints, then you'll see a bigger difference than if you go through a telecine. If you're going to mix them, then shoot the Superspeeds at T2.8 or higher for a sharper, more contrasty look. The Superspeeds have a lot more chromatic aberration than the Optimos. The more you push the lenses to perform (flaring in backlight, shooting wide-open, big focus racks, straight geometric lines, practical sources in frame) the more obvious differences you will see.
*A Cooke 18-100 may match the Superspeeds better optically. But the Optimos are much better lenses. BTW, I don't see how you can have the budget for two Optimos but not for a set of Ultraprimes (at least)!
I was going to try to keep it around 2.8 or 4 for the whole movie. Thanks for that advice. I am doing an HD telecine and the movie will more than likely live digitally forever after that.
I'm still not sure if I'm going to shoot only Optimos or both...not sure how wide I'll want to get....
Also the camera is gonna live on a dolly.
A rental house is doing me a HUGE favor and giving me the package for free, those are the lenses available for my particular shoot date. I have production insurance and have all pros working on it as well and I'm a 1st so I'm going to take care of gear(it's in my blood :) ).
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Would intercutting between the optimos and superspeeds be acceptable?
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I'd like to get some opinions on this.
I am shooting a short next month on 35 and am wondering which would be a better choice in regards to quality of image. The stop loss and extra weight of zooms don't bother me.
Which would be better or which would you choose a set of super speeds or 2 angenieux optimo zooms (15-40 and 24-290)?
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I was wondering if anyone could recommend any books on film chemistry. I'm interested in finding out how the emulsion is made what it is made of. Kind of the whole process of how motion picture film is made. Also any how to make DIY motion picture film.
I'm curious if it is possible once kodak and fuji go under and motion picture film is a thing of the past and all the short ends and re-cans are like water in Mad Max 2, if making it is a viable option.
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That Scarlet came out in 2009 right? :P
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I believe they do.
On an SR1 mag, 400' daylight spools did not work me. Couldn't close the door. Is 16mm still produced on 400' daylight spools?
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well, 400' daylight spools will not work. 100' daylight spools should.
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But you're right when you say "I would have to solve a problem 30 seconds ago", and if I didn't know how to do it, then what do you do. Thanks for the replys guys.
That's where reading everything you can will help. http://www.arri.de/camera/35_mm_film/arriflex_535_b.html
http://www.panavision.co.uk/pdf/downloads/...quick-guide.pdf
http://camera.manualsonline.com/manuals/mf...group/535b.html
http://www.cinematography.com/index.php?sh...529&hl=535b
Thread the camera as many times as possible and have the rental house tech show you how first. Also if you can, become really good friends with this tech as you can then have he/she on speed dial and can call them on set when something goes wrong. Also if a 1st you have worked with on the past knows this camera well ask them if you can call them if you have a problem. When things do go wrong just keep calm(like when the RED just completely freezes on you) and work quickly to resolve the problem.
Blow out the gate before each reload and check the gate after each important shot. Make sure you know how to manipulate the video assist as well.
A 1st told me a story where another 1st lost it on Gangs of New York, where the movement on a 535 locked up while threading and the 1st couldn't figure out and was yelling and proclaiming that the camera was broken and was getting the rental house on the phone, when the loader hearing over his radio what was going on, comes over to the camera (i wanna say) turn the loop knobs and closes the movement and walks back to the camera truck. :lol:
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You probably should've found out which camera they will be shooting on, some of the older 35mm cameras are more difficult to thread than others. I would definitely recommend not being the first or at the very least be completely honest with the DP about your lack of knowledge. You need to know everything about the camera, all the stuff Rob said above and knowing how to change everything on the menu(yes film cam's have a menu's). If the camera jams everyone on set looks at YOU to solve the problem 30 seconds ago. If you do just take it and not tell the DP you don't know what you're doing, try to get a few days with the camera at the rental house and ask lots of questions. Also read up on the camera as much as possible, it's not the same as hands-on field experience but it's better than nothing. If it's an ARRI buy the Jon Fauer book for the particular camera(It's well worth the price) and the DVD if it's an ARRICAM.
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Yikes, I'd stay away sounds like 2- 18 hour days to me. But for funsies I'd tell them that professional experienced AC's get paid for prep days ;) and that no AC's have reels for their AC work. I also find it hard to believe that if someone would show up there and 'not know what they are dong' that they really couldn't 'send you home' as who else are they going to get DURING the shoot?
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if the lenses allow it you should really mark the barrel. use some 1/16 paper tape or 1/32(can't remember) and put some j-lar on top of it and you can mark it with china-markers or the staedlter lumo color pens. marking the focus ring is not as accurate.
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That's also the student price kodak offers.
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He didn't say 2nd AC. He said loader. A 2nd should be keeping track of all that stuff. But a feature or episodic would usually have a 1st, 2nd and a loader besides the ultra low budget.
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With red and film for drama you should take similar notes. things like focal distance lens height are good to note down as you maybe asked when you to the reverse.
as a good loader you should be making a mental note of distance and height and lens size, so when you to the reverse you know can predict that they will most likely be the same. and you have have the camera in position and with the correct lens on it before the dop even asks for it or at least have it in your hand ready to go, that's what makes you a cut above the rest!! But as far as putting on the sheets i would only do it, if requested of for a vfx shot. i might wright it down in my pocket book if i find i getting asked alot.
as far as film and RED i would proably still use film sheets as a template but on red instead of howmainy feet shot i would put the clip number, but the rest of the details should be the same. Slate, take, clip, lens, Tstop, filters etc.
This really alarms me that you said that, you should reload after shoot about 10mins of footage about 20gb on the RED as you would with film. all the time it is on the camera that's the only place it is. if the drive is dropped or damaged you lost a whole day. You sould also back it up in a min of two places.
you should have a DIT to do this. they can also advice you on how usable any questionable footage is within minutes of shooting it.
otherwise you could be playing a very dangerous game. you might have gotten away with it until now. but the day you don't will be your last. In film you should play it safe always and never be the kinda guy who likes to gamble.
I been on several productions where we have had loads of 16GB CF cards. this forces you to reload after about 12mins of footage and gives you a lighter smaller camera.
As a loader why would one care about lens distance, size, and height????
I agree that you should be dumping footage more than once per day depending on how much you're shooting and the length of the shoot. Usually I'll do a dump at lunch and than at the end if there is no DIT which you don't really need if you know what you're doing and the RED software is pretty self explanatory. Check sums and make copies, done.
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But Chris couldn't you just shoot balanced for daylight(not to mention use HMI's or gel lights or use daylight kino's) and correct it in the edit bay?
35mm Film vs HD-DSLR
in General Discussion
Posted
I was at Zacuto the other day and they told me about the shootout, I was unaware prior. They said they did 2k and 4k scans...maybe they will talk about it in later episodes.
I thought they should have put the full res clips from each camera online or at least make it available on a dvd, like it's great to hear respected people give there opinion but I want to make the decision as what looks best to me and I can't really do that with compressed clips.