Evan Andrew John Prosofsky

I understand that in color photography, one of the main differences between negative and reversal stock (visually) is the increased saturation of color. This leads me to my next question, what are the fundamental differences between color reversal, and black and white reversal, being that black and white is...black and white. And going from there, why do we need a reversal alternative to kodaks 5222? If anybody happens to have any visual references between the two, be it films they've shot, frame grabs from movies, written examples, etc. please include them in discussion! Thanks very much, interested to find this out.

Hi all, I plan to shoot a sync sound project on the SR3 very soon. The only sound recorder available in Edmonton to rent is the Zoom H4N, i've been told by many sources that this will work and sound good if I run it through my sound devices 302 preamps, but I would like to know what you guys think of this, and if there is anything you think I should know about. Is it just as easy as running the Schoeps through the 302 through the H4N, and setting the recording quality to it's highest? Is there a certain setting I need to know about in order to ensure sync between the H4N and the SR3? Obviously, a clapper slate will be used. I'm referring to possible drift in sync due to different frame rates or problems in editing. Sorry for being so vague, still very un educated when it comes to the whole audio side of things. Thanks so much! Evan

Sounds good John, thanks!!

Thankyou Tom and John for your helpful responses!

Thanks Tim, I'll make the necessary changes

Hi Tom, You don't sound like a dick, but you're assuming a lot of things. First of all, I'm not a professional DP, this is a personal project with friends. Secondly, I have read the book, but, as I indicated in my original post, I have a very limited understanding of timecode and the different procedures used to sync sound. Being that I live in Edmonton, a place where very few people work professionally, its hard to gain experience and learn about these things except through asking questions to the bigger more experienced guys like yourselves. Asking you guys questions uncomplicates things that seem complicated in the handbook, and gives myself a sense of self assurance when I'm shooting. Doing everything for the first time all by yourself can be scary, and this is why I like to ask you guys questions which sound stupid and obvious. If it would help if I were to be more specific, I can try...mainly what I'm wanting to know is what the benefits are between different procedures of recording audio and syncing timecode. I understand the most basic method is to start recording, film someone clapping their hands in the shot, and then sync the audio to that hand clap later on. I'm assuming this is fairly archaic considering the SR3 has timecode recording. But I dont really understand the entire procedure for that. I understand that the process involves 'jamming' the timecode between both the SR3 and the external recorder through the use of some sort of external device? This is what worries/frustrates me because I dont understand how to go about doing that, and secondly, how the post house goes about syncing the audio, or if i should do it, etc etc. I really just need more real world information. Thanks for your patience, Evan

Hi Tim, Thanks for getting back to me. So, as I understand it, if I use a clapper slate, i just film the slate getting clapped down and then later when in post I can sync the sound to the beginning of the clap? Is there any easier way? I understand the SR3 has timecode but I've never particularly understood why this is beneficial if I'm using such a basic method as described. Sorry for my ignorance, too spoiled with 'automatic' sync of digital cameras. Evan

Hi all, Will be shooting S16 in a relatively humid environment, the west edmonton world waterpark, next friday. Just curious if there is anything special I need to know about working with film in humid environments. Thanks! Evan

Hi there, First of all, I have to thank you all for being very helpful as of late. I've had some important questions regarding a super16mm shoot and thanks to you guys it turned out excellent. But as for my question. Within the next few weeks I will be shooting a snyc sound project on the SR3. Having absolutely no experience with sync sound other than through digital formats (Mixer straight to XLR input in camera, eg. RED, HVX200), I am at a loss as to what to expect and what to do. There WILL be a sound guy with SD302, schoeps, tascam recorder, etc. BUT I do not want to rely on his expertise. I would like to understand the process myself as well. I have Jon Fauers SR3 handbook and I plan on reading it, but, being that you guys are such an excellent resource, I was hoping you could give me a summary regarding dos and donts, what I need to know, etc. Thankyou very much, Evan

Thanks for getting back to me so quickly, Tim. Interesting about the frame speeds, but that still seems so strange to me, considering even basic super8mm cameras can do manual "still frame" timelapses. In regards to film loading and the film loop, the guy who helped show me how to do it basically said, "you'll hear if something is wrong". Is this a fairly safe generalization? I ask because, I'm not particularly sure if I heard a click, however I did use the phase button and when the film ran through the camera it was exceptionally quiet. Sorry for the vagueness and insecurity, just really can't wait to get this film back and find out if I'm an idiot or not.

Hi there, I recently shot on the SR3, and wanted to do some timelapse photography. I was sad to see that the SR3 apparently only supports 5-75fps? Is there anyway to do 1fps? It seems strange to me that such a great camera can't handle such an 'easy' frame rate. There must be some sort of explanation I'm not aware of. And one other quick question- In the SR3 manual it notes that during loading you must "Center the film loop in the direction it will run". What exactly does this mean? When I made my loop, I just made sure that the film length was as long as required, the film was snug between the 4 pins, and that the loop stuck out equally on either side of the pressure plate. Is this correct? Was there something I was missing? Thanks a million as always, Evan

That is very unfortunate, I'm sorry to hear that. I'd heard good things from others about cinelicious. I like their price, the direct to drive options, and I enjoyed that "hunter richards 600ft" test roll montage. However, hearing your story makes me feel a little worried. Anyone have any good or bad experiences I should know of? Can anyone recommend another post house? Thanks for all the responses, Evan

Thankyou everybody for helping me clear this up. My shoot today would have been very stressful without said information. Always a pleasure getting help from cinematography.com Evan

Hi there, Just had my first S16mm shoot, I shot kodak vision2 50d. I plan on sending my footage to cinelicious to transfer. (Diamond clear HD) Question in point, being that it was my first time shooting, I am slightly worried that my exposure might be off. I tried to consistently overexpose my neg by 2/3 of a stop, but some shots (due to lack of light) were underexposed, and some shots may have been overexposed more than 2/3 of a stop due to my relative "newbieness". I have always understood a part of a telecine to involve the fixing of my aforementioned errors and choices (eg. bringing down overexposed image for thicker neg, darker blacks, etc.) Is this true? I do not need cinelicous to completely grade my footage, I simply need a nicely exposed image to work with later, wherein they 'fix' my exposures. Is this involved in a regular telecine? Or do I need a "best light"? and what exactly is a best light? etc. Thankyou very much, Evan

Hi Adrian, Thanks for the formula. Yes, on the stills light meter I can select 1/48th of a second. But the thing is, like I said, there is nowhere to input frames per second. Doesn't this change the exposure? 24 pictures a second is obviously different than one picture (photo still) a second. So what I need to know is how to account for this. I guess I'm still confused, sorry

Hi there! I have a film shoot coming up shortly on the SR3, but I dont have a cine light meter, I have a stills one. Difference being-I cannot adjust for frame rate with the stills meter. Questions: 1. Would anybody be able to help me do the math to find out necessary f/stop conversions? 2. Does anybody know how reliable the internal light meter in the SR3 is? Thanks so much, Evan

Hey great job! The short had an excellent sense of flow and style, the cinematography was great. What stock and lenses did you shoot this with? Evan

How much for the 1014? I might be interested. What kind of condition is it in? Have you ran any film through it?

Hey thanks for the info David. Yeah you're totally right, forgot about good old imdb. Anybody else a fan of the cinematography of "Murmur of the Heart"?

I have been a huge fan of Louis Malle's films for a very long time. Today I was thinking of 'Murmur of the Heart', how beautiful it is, and I couldn't for the life of me remember who photographed it. Unthinkable! How do I not know! I feel silly. So heres some questions for those who might know: -Who Dp'd Murmur of the Heart, Lancombe Lucien, and Aus Revoir Les Enfants? They(to me) have a very similar look. -Does anybody know what film stock/'s were used while shooting the aforementioned films? I find Murmur of the Heart has a very soft, clean, pleasing feel. It's like daylight washes over everything rendering the colors in the most beautiful subtle tones. -Lenses used? Cool, thanks! If anybody wants to use this thread as a forum to discuss the cinematography in Malle's films please do so.

I thought there was a difference. 16 has sprocket holes on both sides, whereas s16 only has them on one side, allowing for a larger recordable negative area. Thus I presumed you would need to specify what you want. Am I wrong in this belief?

Kodak uses numbers to donate what film stock you are ordering. What is the difference between, for example, 5201 and 7201. Would this mean 5201(16mm) and 7201(35mm)? But this still does not make sense to me because you would have to say whether you wanted super16 or super35, and this would not include super8mm stocks either. Evan

am i coming off like an butt? i hope not. i am not having an SR3 just handed to me, i will be paying 200 dollars a day to rent it. this 'director' i've been referring to is really just a friend. this is just a site for professionals and i'm trying to 'respect' that, if you know what i mean. i go to university for english literature, not film. david thankyou for your support and i agree very much, you guys have practical experience, something many professors often lack. your help is always VERY much appreciated. fran i often find when i am really specific and write a lot, my topics get looked over because they are so complex and annoying with questions. had i known you needed more detail i would have certainly given it, now i do, thanks. i am very comfortable with shooting super8mm and regular 16. i've worked mainly with old bolex cameras. but you are right, i have absolutely no experience working with super 16mm, thus all the questions. you guys are a great resource and these 'quick' questions will literally drastically impact the quality of my film. i try to be a quick learner. when i was speaking about the dynamic range of s16mm i meant in general. i forget who but someone answered that, 11 stops? thats phenomenal. i found it to be much less than that working with SD files of 16mm, so i'm happy i asked. when i was speaking about '3 stops over' (sorry for being vague) i meant ambient light, probably kodak 50d, 200t, or 250d. i am so particular in asking this because i have worked several times with the hvx200. i feel i've produced great results but i spent many a tedious hour lighting everything in the most particular way, just so the highlights would hold. i'm not implying i won't do this with s16mm but i'd like to know how much more i can push it. and again, from my limited knowledge and experience, as well as what i've read on these forums, i've found that film does not 'see' into the blacks as well as digital. this is why i ask how much range i have in the shadows(ambient light, probably 50d, 200t, or 250d) i'm really thinking of going with 50d for all the daylight stuff. i saw some exceptional results on youtube the other day, youtube of all things! evan

i appreciate your help but without getting too far into it i'm a university student and i live alone. buying film just to 'test' is completely not an option. i'm applying for a grant this febuary and if i get it i will most certainly be doing some test. if not, just cant afford it. thanks everyone else for your help! no one has said anything number wise yet. 3 stops in the highlights too much to render detail on a white face? what kindof dynamic range am i looking at here. i'm sure SOMEONE must know this. what about shadows? 2 stops, at best?

exactly. for me that testing happens on the job and it is very unfortunate. thus i turn to you guys.