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Philip Reinhold

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  1. Philip Reinhold
    Talking about Cine or Fotofilm? Im sure there are still many Labs for Foto- Film in Australia. I know at least 2 in melbourne. Same with Filmlabs for Cinefilm, in Sydney there is Neglab and maybe some Australian can tell you about more options here. However…when I was younger, I also developed color films at home, its not that difficult you just have to be more precice with the temperature. And I still do that from time to time with bnw, because I know my timings and chems to get my look. I recently come across a pretty nice home film develop-machine: https://www.filmomat.eu/
  2. Philip Reinhold
    Yes, I also find it interesting that you can play with the ISO of the digitals especially the alexa to adjust your dynamic range balance. And I feel that I like pictures with more details in the highlites to appear more brilliant than having more details in the blacks. I also lika a bit of punch/kick in the highlites, but I still want to see the details in between. That's what we are also used to from film. And digital still have a lot of problems with that. After some camera tests, I found my ISO at 1600. I dont use it always, but often. Also in the dark people are used to missing a lot of details anyway, that's the exciting thing about the darkness, the audiance should respect the darkness a bit. I also like the grain/gain structure from higher iso, because it makes the picture a little more alive. Esp. if you have steady Tripod shots. Im a huge Fan of Kodak 200T. About the Look is a fight in the advertising world anyway. I usually go straight proress444 with the Alexa, I do not want to give the colourists many options, they can mess up your work so quickly, and it's a shame that many productions & agency producers are not letting the DP & Director become part of that process anymore. I really have to fight for it. Sometimes I still get my fav colorists and sometimes they let a young junior destroy your work because they are the only available option in the postproduction house or do not have enough experience to guide the clients and many are permanent employees who simply want to go home asap...
  3. Philip Reinhold
    Not that far from the Arri-Raw workflow the Topic creater asked for right? Sure Files are bigger because Arriraw out of the amira is only 2.8K. I used the F65 only once and was pretty happy with the results back then. I didn´t remember it beeing to difficult but sure we had a good organized DiT to Post Workflow.
  4. Philip Reinhold
    Wonder why nobody has mentioned a used Sony F65 before... I think she is superior to an amira and much cheaper in the used market these days. You can get them for around 5K and it's a wonderful real 4K digital camera with mechanical shutter and a very cinematic exposure latitude, netflix approved and rock solid. EX-Machina, Oblivion… there are many visually stunning movies shot on it recently…
  5. Philip Reinhold
    Sure i can do some breakdown. Maybe later today & maybe select a scene and i´ll try to remember and find bts to do it. Yes, I used 12x1K Dino Brutes in the station to bring in some Depth. In general, I like to use tungsten units.
  6. Philip Reinhold
    Thanks very much! For these two I also fought to participate in the color correction. I used Alexa Minis with Master Anamorphics for Rejoice and for Coke i remember it was a Alexa Studio & Mini with Cooke Anamorphics. I usualy use my own LUT for those midtones, which I always give the Dit in advance. Also i underexpose the Alexa by 1 stop and use higher ISO to keep the Highlites. For this reason I have another monitor LUT to keep the clients calm. ?
  7. Philip Reinhold
    Thank you!
  8. Philip Reinhold
    Hey there, I just wanted to introduce me and some of my work here. I dedicate most of my time to be a father and cooking for the fam. In addition, I have been working as DP since 15 years now, mainly in the advertising sector in Europe & Asia, but´ve worked for some US Clients as well. I am a big fan of experience exchange, so that's why I'm here & I still love the classic cinema theatre. Apart from my Agents, i've never cut a reel of my work together so here is a few of my work as vimeo links.
  9. Philip Reinhold
    The Amira is a very decent camera. When i didn´t need arri raw and the 4:3 sensor of the Mini, I preferred to use the amira more because I found it ergonomically better. But I'm not sure if it's worth the investment now at the end of 2019. For most daily commercial projects, clients & agencys often ask for 4K and more often refer to Netflix technical specifications as a reference. Also i think the Sony Venice is a very exciting camera for that. For me, it's not worth to buy such a camera, I prefer to work with rental-houses, so I also get the accessories I need, but if the situation requires it I would think about Sony. The new colorscience is really good and not so much worse than Arri's.
  10. Philip Reinhold
    Thats lovely!
  11. Philip Reinhold
    Well ... I did not shoot any b/w filmstock for a while. Only use it for still photography nowadays because I can develop it myself. But if you go through a Digital Intermidiate-process, it's also more of a religious question - whether you want to go black-and-white in the post or use the more expensive b&w stocks and use color filteration in front of the lens. Sure you´ll have slightly different grain structures with every stock. and B&W Stock will appear sharper. I mainly see the advantage of the reversal-film only in a bit better sharpness and in the art of making a straight projection movie. Which is fun btw. But i last time i did it is ages…
  12. Philip Reinhold
    For a typical Di the common way is to use normal ECN2 developed negativer stock. It will give you more Exposure Latitude as a Reverse Stock. So you´ll have more possibilities of the exposure & color correction.
  13. Philip Reinhold
  14. Philip Reinhold
    i don´t like to say that but… https://www.quora.com/Why-do-writers-use-old-typewriters-instead-of-computers many still use typewriters… haha
  15. Philip Reinhold
    I think that this debate will become very offtopic now... these "roger deakins" said…blabla… argument doesn´t attract anyway, he has shot hail ceasar on film after he shot some stuff digitaly… sure couse of directors wishes and not everyone shares deakins opinion. Currently Linus Sandgren is one of the most wanted DP's and he shoots everything on film...Bond25 as example… like many others still do if they can & are allowed to… you can discuss it to death here but however I think the "main“ topic question is answered…digital is & can be cheaper… However many people, me included loves Film and im glad that Film is still far from death. Also we have a re-growing infrastructure these days. New labs starting their business again, especially in europe. And thanks to kodak and their marketing it´s easy to access like 10 Years ago… the deepest point in celluloid history was 2015… since then its start rising again. And let's all be lucky that we "still" have these options now. I wouldn´t shoot everything on Film… but if I see any sense behind it I will always try to. And if we are already Offtopic and talk about home cinema vs porjected cinema... sound will make 60% of a good movie ... many cinematographers let that out of sight... and for good sound you need a good room… thats what makes "cinema" special… no matter how good your home system and your projector are. P.S. i do not go to a cinema just to see a good story, i can read books for that. i also go to the cinema for an audiovisual experience…
  16. Philip Reinhold
    That's the problem I always have with most digital jobs ... the AD does not care and records every rehearsal ... then they have to select too much footage in too tight timings in the edit room, miss a lot and then come the calls ... why did not you shoot CU / PickUps etc ... we did ... they just have to find the needle in the haystack.
  17. Philip Reinhold
    actually, it's more the art-house films that are increasingly turning to shoot on film again these days. from what i see at filmfestivals. However i think the majority of productions will be for sure digital and sure its cheaper… & a bit off topic… but my personal favorites the last season where it was pretty enjoyable to see them shot on film:
  18. Philip Reinhold
    Sure, digital can be a lot cheaper ... especially for independent projects with Blackmagics, Sony & Co. which can record on simple walmart SSD, notebook-based NRLs and grading/online... the price is not comparable. However Film looks different, has a different Workflow & generates less useless footage... For large projects that require a lot of paid edit, good on set DiT, post & Storage workflow also has its price, its maybe more close by... But this is the project area where you also ask about 2 complete sets of Panavision Primos, some more units or if you could be okay with Cookes or just Zeiss super-speeds… If i read a script i think okay this could be look great shot on a clean LF alexa/venice look or this could be more interesting on 16mm, or a documentary style on a blackmagic whatever… and then i look for the budged. If i see film and can make it possible then its nice but i think nobody should say… we have to shoot this on whatever because when we´ll keep a 5:1 ratio it will be cheaper or… am i wrong?
  19. Philip Reinhold
    I really do not get you guys... let everyone shoot on what they want to shoot... do not blame anyone for choosing their format ... be happy that we still have "all"! the options! I just see relgion discussions here...
  20. Philip Reinhold
    Its not that easy… especially in Europe (where low-budged is big budged ? ) The German market is one of the most oversaturated and special film markets. Even if you have been working as a camera assistant or gaffer for some years, it will take ages. We have 5 big (and some smaller) film schools, HFF Muinch, DFFB Berlin, HMS Hamburg, HFF / Filmuni Babelsberg, Filmakadmie Ludwigsburg… and all of them send at least 6 good selected cinematographers per school to the German & International market every year. Most of them worked as electricians / AC / gaffer a few years before study and the chance of being engaged in a Filmfond-sponsored television or Cinema production project without having to study there is very low. However, working in the lighting department is the most interesting you can start today. The camera systems change every year and are not that difficult to learn anymore. So there will be more opportunities to be hired as they usually require more electricians than AC´s per Project. So look for an Crew who will pick you up as the "Spark/Licht-Assi" / "Halber Beleuchter", and move on from that…
  21. Philip Reinhold
    Sounds like a terrible attitude… so i am glad that I live in another bubble, where the goal is to entertain an audience with art in the first place ... and earn a good living by doing that.
  22. Philip Reinhold
    As far i know most "professional" festivals will bring a good story and a good movie to the top, no matter if shot on whatever or who played in! The medium should be always the last choice! Most important is always what happens in front of any light catching machine at first place…
  23. Philip Reinhold
    I would agree on some terms, we shoot 85% digital and i like what i can get out of a Alexa & Venice especially in Lowlight. But i also just shot a Internet Beauty AD on 35mm because the American Celeb Actress Woman wanted to have her skin looking the Kodak way… just saying. There are still some "normal" jobs and even also some Television Shows shooting on Film. Its also a Trend in the AD world right now especially in Europe & North America. Its much less than in the past, but still not dead. 4 Years ago there was this almost film is dead scenario with a close death of kodak… but its rising again because of filmmakers whiches. We got more and new Labs in Europe. B.T.W. i got more **(obscenity removed)**-Ups shooting digital as shooting on Films in terms of Stock & DataSafety… especially with RED…
  24. Philip Reinhold
    true sorry its 669 so Canadian $…
  25. Philip Reinhold
    Sure there is always a Top-Level & Superman Fee. For me it was an average minimum salary and I mean in euros & small germany television market… The weeks in Germany are 5 days / 10h basis. AC's do not have their own equipment, usually they get everything from the rental. And most productions already have their rental deals which include everything up to cinetape´s and carts. I remember i owned a Magliner and they rarely wanted to pay for it… Same now as DP. I only own my Prep & Expsoure Stuff / Meter's and smaller tools that I use for Jobs. My older 16/35 equipment is mostly for my own pleasure and rarely as additional-cams... it does not make much sense to have a camera in my position these days. You´ll have to fly with it and again most producers have their deals with Rental Houses and I could not and did not want to beat them. It's also based on projects which format Alexa / Film / Venice...to go. btw. i added the iatsi fee excel from 2018
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