Kevin Zanit

I just posted a bunch of tests I did with bleach bypass: http://www.cinematography.com/forum2004/in...st&p=170410 Those were shot in 35, and I am not sure if anyone will BB 16 (though I think someone must). I assume you want to BB your negative. A lot of the labs have different names for it, but for the most part they are the same. There has been a ton of postings on this topic, do a search. There are no requirements, just recommendations like underexpose a little, etc. It is something you really have to test. The cost is typically for a setup fee (around $500 per a run) and I think the per a foot charge is a little more, but I don't really get to see all the numbers, so I am not positive. Test, test, test! Zalfa, you also need to use your FULL name on this forum. Kevin Zanit

Wooden Nickel rents Haze machines. It's called the DF50 and is around $90 a day I think. Well the problem you are facing is an issue regardless of budget. Unless you can pull a Dean Semler and fly 200x200 silks from construction cranes over your set, you have the problem of softening a big area. The best thing to do is use maybe light grid and stage your scene against a background that is darker. That, or schedule your wide shots for a time that the light is better, and then diffuse the close ups.

Wooden Nickel (from memory, may be off): 6x6 Grid cloth $12 6x6 frame $8 (2) C-stands $4 or (2) Hi-Rollers $6 (4) Sand bags $8 All for the weekend Grip stuff is really not very much money. You could rent a 20x20 for around $60 a weekend (complete).

Would it work? Probably it would, at least for a few seconds until the smoke dissipated/ thined. Is it practical? Of course not. It would be a lot simpler (and in the long run cheaper) to just rent some basic proper grip equipment.

Big old Briese light does the trick nicely ;)

Thats a good point. The lenses do have T-Stop scales that Panavision put on them after making them flare lenses. That said, they were made years ago and have seen limited use since. Before shooting, I will have to put them on a lens projector and see if they will update the markings. I wish Dan Sasaki was still around . . .

79' is a grainier stock, thus it could cause the blooming to be more apparent (not to mention the stocks could scatter light a little differently). It wasn't something I noticed much in the print though.

CSI is 35mm.

The tests can be seen here: http://www.cinematography.com/forum2004/in...showtopic=22663

5279 BB Flare & then Primo (label wrong on slate) 5279 BB Flare & then Primo 8:1 5279 BB Flare & then Primo Outside I have some more pictures of normal in the directory that these pictures are in, but I don't feel like posting anymore of them ;) Kevin Zanit

5229 BB Flare & then Primo 8:1 5229 BB Flare & then Primo Outside (VERY HIGH CONTRAST RANGE ON ALL OUTSIDE STUFF) 5229 Normal Flare & then Primo 5229 Normal Flare & then Primo 8:1 5229 Normal Flare & then Primo Outside

Hello all, The other day I shot a VERY long day of tests (around 97 setups). I tested the following: 5218 5229 5279 All with a full bleach bypass to the negative and processed normal. I also tested both Primo and "Flare" lenses. The processing was done at Deluxe (who were great!), and transferred to HDCam and DVCam on a Shadow at Entertainment Post. Deluxe also printed all the tests onto 2383. When I did these tests I was frankly more interested in how they looked projected. The telecine was really just for production to look at. It was interesting that I really liked the flare lenses projected but I really prefer the primos in the telecine. I also really disliked 5279 projected but really liked it in the telecine. All day exterior shots were shot without an 85b, and the blue was timed out. I only had one hour in the telecine so I honestly did not spend much time tweaking things. To be honest, the transfer is a bit sloppy. It?s no fault of the colorist, but really just a fault of having to rush through the transfer. If anything, these tests show how good Panavision's Primo primes are. They are great lenses, and when compared to the flare lenses they really shine. All the tests were shot on a 40mm prime (of each series) at around a T-4 inside. The flare lenses were made for Saving Private Ryan; they come in medium and heavy. Heavy has the T*Star coating completely removed from every element in the lens. These were the ones I tested. I think they are Super Speeds. I don't think the T-stop scale on the flare lenses is accurate, as every shot with them looks about 1/3 to 1/2 stop under. The lighting setups NEVER changed the entire test (for the different contrast ranges I just had several lighting setups that we would turn on and off). Thus any variations between shots are the lenses, and in this case often the telecine. The color does not vary as much in the print. For anyone wondering, I am going with 5229, full skip bleach with the flare lenses. All these images are from the DVCam tape, I haven't had time to get the HDCam material. 5218 BB Flare & then Primo 5218 BB Flare & then Primo 8:1 contrast 5218 Normal Flare & then Primo 5218 Normal Flare & then Primo 8:1 5229 BB Flare & then Primo

I'll try and get those posted. I have pushed '18 before one stop; it gets a bit more contrasty and grainy, but really not much. That can be great if you need the speed, but not so grate for getting a very contrasty look.

I'll try and get those posted. I have pushed '18 before one stop; it gets a bit more contrasty and grainy, but really not much. That can be great if you need the speed, but not so grate for getting a very contrasty look.

I'll third that. I did some tests on Tuesday that I will try and post here of: 5218 w/ full skip bleach to the negative 5229 w/ full skip bleach to the negative 5279 w/ full skip bleach to the negative 5218 Normal 5229 Normal 5279 Normal And all six of these scenarios with both Panavision Primo lenses and Panavision full "Flare" lenses. Kevin Zanit

In my experience, the 2nd AC is responsible for the end of day, final film inventory. It is his job to make sure gear that is coming in for a day is received and sent back, staying on top of everyone's time cards, and keeping production updated with the final film inventories (i.e. how much have we shot today, how much was good, N.G., waste, how much is remaining, etc.). I said this "Loading to be quite honest is not a very hard job. It requires a ton of focus to do it well, and a good loader is hard to come by, but working smart really makes the job pretty easy" I never said it wasn't a lot of work, though I did say that generally the 2nd has more work to do. Essentially, what I am saying is that if you do the prep work and think smart, the work of loading is not difficult, but it can be a lot of work. I spent a lot of time as a 2nd/ loader or just loader so I am not just talking out of my ass as to what I perceive the job is, I've done the job also. Now your car commercial sounds like a total ass kicking, and you are really pointing out an extreme case. If you were able to stay on top of that without keeping them ever waiting for a hot mag, you did a really good job. I remember being on a Cadillac commercial that was doing tons of 100fps on 400' mags. The loader was pretty new, and the camera department was made up of some very major camera assistants. I remember them having to wait for mags, and hearing the 2nd sort of announce on walkie that he was going to go help load mags so the loader will have a job at the end of today. I glanced in the camera truck and saw this poor, sweaty guy trying to keep up. It can be an extremely stressful job. Kevin Zanit

The film inventory sheets are to be done by the 2nd AC. As a loader, just ask the 2nd if you have any questions. If he doesn't know, he'll ask the 1st. Loading to be quite honest is not a very hard job. It requires a ton of focus to do it well, and a good loader is hard to come by, but working smart really makes the job pretty easy. The 2nd is the one who really has their work cut out for them. One thing you can do to help yourself is come in extra early and stay late getting some of your paperwork in order for the next day. For instance, a big killer of time in a sweaty dark room can be taping the mag and getting the label prepared. In the morning (or night), just precut a bunch of strips of tape for the right length to go around the mag and stick them on the wall of the darkroom (or table that your tent is on). Make printed labels (or pre write) the tag that goes with the mag with as much info as you can. The stock, show title, date, and footage are all things you will know ahead of time. Just leave M: & R: blank. Make sure the 2nd (and you can also) has ordered pre-printed camera reports. If you don't have them, fill them out ahead of time. All these little things add up to quicker mag turn arounds. With regard to not cracking open too much film, look at the call sheet, if you know that one of the last shots on the shooting schedule is up on the slate, take that as a cue to quietly ask the 2nd if you should keep more mags hot than you already have. Kevin Zanit

https://www.studentfilmmakers.com/store/cus...322&cat=248 Its the current issue.

Typically for DVCam dallies, expect to pay around $200-250 an hour. Depending on what you are doing, budget for about 1.7-2x real time. So if you have 2 hours worth of material, expect to pay for about 4 hours (it is usually less, but budget for the worst case). You would get all your footage transferred with windows burnt in, etc, as well as get a "flex file" from the transfer house. The specifics of the editor lining things up with your flex file is not something I know anything about. So, I'll skip to the next step: The editor generates an EDL that is converted to correspond to your roll #s and key code, etc. You then take this with all your original elements to the transfer house that is doing your HDCam telecine. They transfer only the stuff you need based on the EDL to your desired format (HDCam in your case). Expect to pay anywhere between $375-500 an hour for transfers on a Spirit, and slightly less on a Shadow. How many hours depends on how fast you are with your color correction, and how well your EDL lined up (no major problems, etc.). The editorial details like your dissolves getting up-rezed, etc I once again now nothing about. This is a very dumbed down version. Kevin Zanit

"If you're doing a supervised telecine, there's an easy way to tell whether what you're seeing is noise or grain -- tell the colorist to stop the neg - take a close look at it - start it - stop it - start it - stop it -- if it's grain you're seeing, the particles will stop and start along with the negative. If it's noise, the particles will keep shooting around when the neg is stopped. That's important because noise isn't something a colorist will point out to you. The first time I did a TK I was told all the noise was grain (and there was a lot of it!)" Not necessarily possible. I haven't sat in too much on color timing sessions that were done on a Rank Cinetel (what I am guessing yours was on), but the times I have, the system can not display a "frozen" image, when they stop the machine, the image just falls apart. The Rank is, in my experience, an extremely noisy machine. So noisy that I push all the shows I am doing that have DVCam dallies to transfer on at least a Shadow, even if only getting a DVCam tape off the transfer (I am actually doing that tomorrow). Most of the post houses have been pretty accommodating on their pricing for this type of scenario. I would definitely not recommend transferring standard 16 shot on 500 speed film on an old Rank (which I am willing to bet yours was) if you want a clean image, on top of what all the others have said (thin neg, etc.). Kevin Zanit

All I know is that things have come a long way since 1997 or so! The new design threw me off for a second, but I think its pretty nice, good work Tim. Kevin Zanit

They are not at all linked in their tasks. The gaffer is a department head, in charge of the electrics. A grip is not a department head, and works in an entirely different department than an electric would. This is my point, it is a bit of semantics, but it really shows a lack of understanding of the various jobs on a film shoot when people use this type of terminology.

Do a search, we have talked a lot about the camera in the past. I am a fan of the Elaine when your 1st AC knows what they are doing. For a really hand held, lots of location work type shoot, I'd probably go for the SR3.

I haven't used the stock yet, though I am doing some stock tests next week and am thinking about adding it to the list of stocks. Also, welcome to the forum (though you have been registered for a while, your first post)!

If you want people to take the time to answer your questions, could you please take the time to hit your caps key?