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Evan Andrew John Prosofsky

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About Evan Andrew John Prosofsky

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  • Birthday 08/30/1989

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  • Occupation
    Cinematographer
  • Location
    Canada

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  • Website URL
    http://www.evanprosofsky.com

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  1. Thanks Dylan!! I shot wide open on master primes and my meter read between .35 and .7 for most of the night work. I had a small litepanels LED i used to add direction to the light but it really wasn't adding much exposure.
  2. I've always been a huge fan of doing true 2k on the scanity at cinelicious even if its for music videos. But, if its seriously affecting your budget, I'd suggest doing a telecine so you can spend more time on getting the color right. On the web, it can be VERY difficult to tell the difference. As much as I would love to tell myself otherwise... 2k scans: HD Telecine on a Spirit: (this was underexposed two stops on 5219 so will give you a great idea grain wise where you're at)
  3. That is exactly what I needed to hear, thanks Greg! And PS for what its worth I just watched American Hustle again and the focus issues weren't apparent to me at all, although you've done a good job of scaring me off k35s :) Best,
  4. Hi there, Just gauging interest in my set of Hawk C series'. They are in excellent condition with no scratches, fungus, dust, etc. Focus and iris are very smooth and the lenses have recently been serviced by stuart at focus optics. Serious offers only. Feel free to contact me at evanprosofsky@gmail.com, thanks!
  5. Awesome Dirk thanks for that! I've read before the 5222 is slower than rated so thats good to know. Does anybody know how the 5222 reacts to under/over exposure? I know color neg film likes a bit of over exposure, but I've heard with b+w its the opposite. And lastly, in comparison to color neg, what is roughly the dynamic range of this stock? Thanks all
  6. Thanks for your wisdom as always david. Definitely agree about the lighting/costume design approach for indoors. I also doubt I'll have the stop for color filters indoors.... BUT....The whole project is supposed to feel "surreal", which is why I'd like to push things a little farther with color filters than I might normally be comfortable with color neg. In this case, I'll do so outdoors. In your opinion (and anyone elses that wants to chime in) do you think there is any particular place I should start? I'd imagine a yellow/orange would be more modest and red if I want to be really dramatic? What filter number should I be looking for? To be honest I'm kinda worried a rental house might not even have these things anymore...haha Lastly... you mention that since faces have red in them they get lighter as skies get dark (when using a red filter). Do you think in this respect I'd be kicking myself in the foot using a filter since I'm shooting dark skinned actors and I want them to look.. welll.. "dark"? Maybe dark skin would look better against a "white" sky. Hmm..... (gah I wish I could test..) Basically, I want really deep blacks and silvery higlights. My plan is to overexpose half a stop consistently, shoot with an 81 EF at all times, and when outdoors use an orange filter for deep dramatic skies. If anybody has any comments I would love to hear. eg. should I bleach bypass to get more silver in the neg? expose the neg differently? always shoot in backlight to get that silvery feel? Thanks guys..
  7. Shooting a moody black and white music video on 5222 very soon and have very little experience with the stock. Plan on using color filters to increase contrast (like ed lachman's use of the 81EF as a subtle yellow to consistently increase contrast) but am not sure how far to go. As always I don't have the budget to test (argh!!!!!!) so needless to say I'm a bit worried being that all three main characters skin color is black. Contrast is good but I do still need to see detail ;) Anybody have any suggestions on where to start? What are the "classic" color filters and which do you feel would be best for both indoor and outdoor moody situations with black actors. I have read lots about the 5222 and have come to understand it as a grainy low contrast stock. I'd like to combat the low con with these filters to achieve something more dramatic, and if possible, alter my exposures to achieve a more shimmering "silvery" image. If anybody has much experience with this stock, please let me know how you like to rate it and how I may achieve this vibe. THANKYOU!!!
  8. Are you over exposing to lower contrast or because you're scared of underexposing and thereby want a denser negative to "protect" yourself. If you're scared but don't want to build in a look, rate +1 and have no fear. If you actually want to build low contrast into your neg, overexpose more and pull the film. You could also look into savides' work on birth (and many others) where he uses underexposure and a slight pull to achieve low contrast and milky blacks.
  9. To be honest I have to slightly disagree with everyone. +1 on 5219 is incredibly modest and not going to give a significantly different look. If you truly want low contrast and fine grain then a good place to begin would be +2 pull 1 stop, even +3 pull 2 (this will be more dramatic). I recently shot a music video +2 pull 1 and was disappointed with how subtle the result was. You will be happy to see highlights still handle excellently and even when "blown out" do not feel clippy and digital. Most importantly make sure to get a good scan and colorist, you'll be fine. Obviously film isn't fool proof, but... it doesn't hurt once and awhile to tell yourself when you're getting nervous about an exposure "its film, be brave!". You're shooting film for a reason, make the most of it. Have fun!
  10. You'll be absolutely fine :) Remember, like Rob said, pushing film does far less to effect the shadow detail you "increase" and does much more to the overall contrast and grain. Push if you want high contrast and extra grain, not to actually increase the level of exposure you give the neg. If you underexposed anything less than 2 stops, I think you'll be blown away by how much shadow detail you still have to play with in the telecine/scan, and if you exposed normally (as your 7D indicated) you'll be absolutely great!
  11. Hi! Shooting a music video on super8 of all things this coming week with a canon 1014 xls. The video needs to be finished at 16x9 and it is very important to me that I'm able to compose my shots in that ratio as we're shooting. Other than "visualizing", is there a way to actually mark the viewfinder somehow? What does everyone usually do when transferring to widescreen? Perplexed. Looking forward to hearing your responses, thankyou!! Evan
  12. Yikes guys. I felt my response was quite respectful. If you read.. In it I mention that he is asking a FAIR price, kudos to him for having the guts! And, geez, this isn't a marketplace, it IS a forum meant EXACTLY for this type of discussion! If you dont want to discuss price.. Put it in a shop window or something. And just like I might not know what prices reflect the marketplace in Europe (although I purchased my arri 435 and 416 there for far less than Lorenzo's price), Lorenzo may not know what prices reflect the marketplace in north America. I have the utmost compassion for people who invested 100k+ on their new arris only for them to slump in value almost immediately, but this is not a good deal and it is my right to (politely) let other forum members know they could do better. To say I have "bad manners" for doing so is.... Strange.
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