Steve Wallace

Attached is a link to an interview where I discuss shooting super16mm and super 8mm film my new short Vengeance de los Muertos, playing as a part of the Fantastic Planet Film Festival April 18th, 2013. Among the shots, I shoot footage from a demolition derby car with a super 8 zip tied to the dash. Check it out, and let me know what you guys think and another

Attached is a link to an interview where I discuss shooting super16mm and super 8mm film my new short Vengeance de los Muertos, playing as a part of the Fantastic Planet Film Festival April 18th, 2013. Among the shots, I shoot footage from a demolition derby car with a super 8 zip tied to the dash. Check it out, and let me know what you guys think and another

I tried this on my canon 310xl in macro and everything was out of focus

I use hyperfocal with wide lenses when I am hand holding and want everything in focus. For example, when I'm shooting promo materials for bands or whatever, this is handy method. That isn't to say that marking can be off. AND FINALLY, sometimes the markings are right, but my DOF calculator appears off. (the Kodak one for Android / Iphone). Which I don't have a geat explanation for. Albeit, not the typical AC situation.

Thank for the input PAUL :)

@ Paul, ahh thats right... like by scanning a densitometer strip cards... that makes sense. Looks like I'm stuck thanks for the input though, Are there any other colormatch tools? I don't use nuke. I'm a new convert from FCP7 --> PrPro CS6 for R3D

I have a number of photos in which I used various chemical processes that I would like to build LUTs around. Is there a tool that would scan an image for its inherent characteristics, and replicate that as a LUT, assuming its a neutral properly white balanced image? Or am I still using the scopes and replicating it as best as I can using scopes etc...? Any help? For example, here is a photo from my Lomo LC-A+ shot on Fuji Superia 400 asa cross processed as e6, pushed +2 stops and brought to a neutral (ish) balance in scanning.

I thought this was great. Good show

I wasn't using cameras designed for sound and I shot at 18 fps, a decision that allowed me to use 2 low light pocket cams (the canon 310xl f1.0 and the minolta 401xl f 1.2). The interviews where a series of cartridge long takes. I did not use "second sticks", but I synced to words / phrases at the end of the takes and sync drifted throughout. Everything was shot in available light. For the exteriors in wasn't a big deal, but the interiors in the studio were lit by sunlight pouring in through a window and the night time footage in the clubs was all practical lighting in the venues. The Vision 3 200T really pulled the details out of what I would consider under lit environments. That said, the next question I anticipate will be "why 200T and not 500T?". I wanted a stock that I could use for both exterior daylight footage, and interior night club performances. I was very happy with V3 200T's flexibility.

I'm glad you enjoyed it. I used the time remap tool in Final Cut 7. Syncing was by far the most laborious part of the editing.

Here is a promo I did for the band, Voodoo Swing's new album "Keep on Rollin'" shot entirely on super 8mm. I drove with them in their '69 Lincoln Continental from Phoenix to Flagstaff then Lake Havasu along with some cutaways in and around town. Please "like", it's in a contest right now. tech specs: cameras: canon 310xl , minolta 401xl film: vision 3 200T, tri-x, plus-x telecine: pro 8mm millennium HD fps: 18

Looks great.

Nice job Rick!

Paul, That looks great! You guys always to a top notch job. Best,

His approach isn't wrong per se. Because if he does that on every shoot, it will never backfire. Always dress for the occasion. And maybe he had an instance where he or someone he knew was ridiculed (or worse) for not dressing for the occasion and he was trying to pass that on to you, albeit in a clumsy way. Now whether its a necessity or not, I tend to agree with the board. I think its stance is a little conservative / overkill. And regarding the "gay" comment. I certainly don't want to turn this into a political debate, but when I read the post, the first thing that came to mind was that guy from RENO 911, prancing around as an AC on a farm and it inspired a laugh. My advise is to never make any defamatory comments regardless of your audience on a professional shoot.

In line with what Adrian is saying. I think it is a function of exposure. Washed out equals over-exposed, including gray blacks and an overall brightness to the screen. With pastel, while the hue may be similar (or the same), the exposure would be correct. So your blacks would be rich and you density should be normal. Pastel is achieved through set design / color timing (chemical) / color grading (digital) or by using stocks like the old Fuji 400 IIRC. It is not achieved by overexposing. Or at least its not advisable to achieve it this way.

"The Hole" by Tsai Ming-Liang is long take after long take, complete with musical numbers, voyeurism, and a degenerative disease that makes people act like insects. Check it out.

Are you sure it is a slight loss of sharpness? Or is it that your footage is now slightly zoomed in. Therefore causing the pixels / grain to appear larger? If so, there is really no way to avoid that when stabilizing shaky footage like this. Unless you do the stupid repeat edge pixel thing, which I will pre-supposed that you are not interested in because its worthless for this application. I've used the following with good results on different projects. Final Cut Pro 7+ tool SmoothCam Adobe After Effects iStabalize I wouldn't recommend one over the other. They all have their ups and downs. Currently I use SmoothCam the most. But that is because its in Final Cut, so the workflow is easiest and it does a good enough job. After Effects seems to have the most control, you can adjust individual track points by hand, and it seems to do a better job tracking multiple objects. iStabilize is a stand alone product, in my experience it's worked about as well as SmoothCam, which is totally acceptable. The only problem is, you have export your footage like AE, but it lacks the versatility. Ps. I have little experience with Motion. I was never able to get result much better than SmootCam, and it took me more time. If I was going to spend that much time, I figured I would use After Effects. If I had to guess, I would think that Motion falls somewhere between the two with a competent operator (which I would not consider myself)

Ha! I think I've talked to that cute little bear before.

Very nice. I never saw the original, but this is clean and elegant. Everything design should be IMHO. Nice reel too.

did anyone say godard & coutard? (B&W fancy free "band of outsiders" and "breathless", for vivid color "contempt")

Yeah, I've seen bolexes modified for double super 8 too. Just an h16 with a modded super 8 gate, run the film through twice, like the old 8mm cameras previous to super 8 cartridges. You get the same image dimensions of super 8 but the benefit of a pressure plate, and all the available accessories. and you can use mags. Although I think you need special film that's perfed for DS8 (twice the perfs of 16mm) IIRC

Is a swish pan the same as a whip pan? If so, I agree here. It is the easiest way (and maybe sloppiest) to hide a transition from one shot to the next. You just pick frames with tons of motion blur and its pretty easier to match them up. I've used it before a couple times.

Exactly... I've seen it several times. Mostly on TV, I can't recall where though. So I guess I just became one of "those guys", who quotes something and cannot cite his quote. But it really takes me out of the moment. Like something is really missing. Where is the person watching this, and why is it only now we see the results of said actions?

Speaking of wrong formats used, (again). My favorite is when the footage is supposed to be CCTV camera in a buildings security setup, but then it pans around and zooms with the action. So we as an audience are supposed to assume it can do that by it self? Or there is an operator following the action of say: a jewel heist, but they aren't included in the narrative? Nor do they call the cops? :huh: