Robert Szanto

Any info available for the production of this new Apple commercial? Looks like it was shot with a newer gen Alexa, but it's too short to tell for sure.

https://www.youtube.com/watch?v=BNUC6UQ_Qvg

Just wondering if anyone out there had any information about how Aki Kaurismaki goes about shooting his amazing little films. Considering how well defined his style and look is, there's not a whole lot of information out there as to how he achieves it (the best way I could describe it is somewhere in between Douglas Sirk and Pedro Almodovar).

Thanks!

Has anyone had any experiences with the CA-1 to PL mount adapters that are floating around ebay? I've heard from other places that an adapter like this wouldn't allow for infinity focusing. Any other ways of getting a CA-1 lens on a PL mount camera?

That's a perfect example of what I was referring to.

I completely forgot that the newest digital cameras are/will be HDR ready. This would definitely help bring down the time and file size it would take to do it with individual stills. The best solution would probably be to rent the camera for a day (probably not possible now, but once things settle down it might become an option), and then capture a 2k HDR frame by frame video of the film (probably using reversal stock since capturing off of a negative brings in all sorts of problems).

Thanks for the info!

I've read that all the professional film scanners take up to 27 monochrome exposures of each frame in order to capture as much usable information as possible (three bracketed exposures per filtered color).

Would it be possible to recreate this process on my own with a monochrome industrial camera scanning the film directly off of a projector's gate (assuming the projector has a motor capable of frame by frame motion)?

Is there a way to batch merge all these images together (first an HDR merge and then an RGB channel merge)?

I've actually been stalking that book for quite some time now. Didn't really hear much about it besides the reviews on Amazon. I think you've finally convinced me to take the plunge with it.

Shoot upside down and flip it in post.

I see. It takes away the need for a giant reflecting mirror in the scene because it's all done inside the adapter. Pretty nifty.

I have an Old Delft Vistascope adapter because It seems to fit and work on my Konvas KSR-1 lenses.

 

 

 

 

 

It uses a prism with a curve face and was made in both a 1.5 x and the ultra rare 2.0 x, I of course have the 1.5 x it does work well but is virtually impossible to change focus on once it is set with these lenses. The little Konvas is also pretty cool in that a LOT of 16mm stuff will work with it. I also have a MINT Davis and Sandford Tri-vision Pepper's Ghost Effect attachment that will allow you to composite up to 3 live images in one shot! I LOVE it!!

 

 

 

 

 

I also have a titler for a Kodak 16mm that I want to modify to work with the Konvas, slide in a sheet of optical clear glass then experiment with titles and perhaps glass shots. Even if it doesn't work, it still might be kinda cool to try. B)

Yeah, I just saw an 8mm Vistascope adapter on Ebay a couple days ago. There's a video of one being used on a 5D on vimeo. Looks a bit like some of the shots from "A.I."

What exactly is a "ghost effect" adapter? Is that something you would use during principal photography, or just in post?

Just came into possession of an old "Filmorama" anamorphic adapter from Bell and Howell. There isn't much information about it online except for the fact that it was the only 16mm anamorphic adapter designed for projection AND production. Anyone have some experience with it?

Just looking for some info until the correct step down rings arrive.

This is a short 16mm film I shot at NYU this summer. Would love some feedback and criticism.

(Works best if you have a sub woofer)

when you need them, comes to mind.

The crew will change from project to project based on your needs, and that of the project. there's no real way to project for these things off of the top of our heads. You'll know when you need more people, though an obvious answer would be to bring in a shooter you trust whenever you really need to focus on acting, and always have extra eyes in the edit; just to help out/ give feedback.

Wow, the internet is a small world after all.... You also replied to my questions on the Myspace group. I guess I will just have to refer to you as Sensei from now on.

I will be attending NYU's film program in the fall, and just had a basic question about the film making process. Being someone who is just starting out, with a near non-exsistant budget, how many roles should I play in the film making process. I know I will be writing my own projects for the most part, directing, and editing. At what point should I start bringing in other people for my projects?

Sorry if this is a horribly basic question, but I just wanted to know how many "hats" I should be wearing as a beginner.