Andy Karkut

Lately, I’ve been thinking about the best way to quickly frame shots and check my lighting on set. I know there are apps such as Artemis, etc that help with this, but I wanted something more tactile and on which you can physically mount lenses. And I did not want to buy a dedicated Director’s Viewfinder because of the expense involved, and also because I cannot use it to take pictures as reference and check my lighting, contrast ratio, etc. So I thought how about a Canon 7D with a PL-mount? It’s APS-C sensor is close to Super35mm and it will give me the abilities to snap pictures (even after the mirror has been removed for the PL modification). Obviously I would have to get one via Hot Rod Cameras in Hollywood or FGV in Munich. And it’s not cheap—anywhere between $2750 to $4000, depending on if I supply my own camera or not. Once again, my need is not only to frame up my shots, but also check my lighting *and* take still pictures on set…all with the same device. I know DPs such as Grieg Fraser use the PL-mount 7D on set, so it’s not just me being a bit ridiculous! Anyway, I thought I’d share my thoughts with the community here and ask for the collective wisdom of this fine forum. I am curious to hear what you have done to achieve the same results I have in mind? Are there other DSLRs (APS-C, mirrorless?) that you’ve used? Thoughts, ideas, suggestions? Thank you.

The general rule for reversal is to either nail the exposure or favor underexposure. For negative stock, especially when shooting 16mm, slight overexposure is better. I have shot on the 100D and watched my highlights -- although I did overexposure by 1/2 stop because I wanted a "glossy" look; it worked! Test.

Here is my question regarding the Nirvana video: If one was to try it now, would it make sense to just shoot the thing in video and not bother with capturing the footage with a film camera? I guess I'm asking, are there inherent aesthetic advantages of shooting video, then playing back on a TV monitor and capturing that on *film*? (Obviously the choice of stock would also be a factor, no?) I think it's a very cool technique, but am wondering about the justification behind trying it now.

I had shot on the 7201 and it is such a sharp and *clean* stock, even for S16. I am shooting additional footage to cut with the 7201, and have been advised to use the 7212 because it cuts well with it. I will be shooting on this stock in a couple of days, and will report back on the results right here.

I cannot attest to the level of detail Adrian has (and he has much more experience and expertise than I), but when, a few days ago, I tested the 7217, I found it to be much more grainer than I had expected (especially in the blacks). Honestly, I was surprised by this, given it's a slow stock.

Excuse my ignorance, but what feature is this? The images look very striking indeed.

Thank you, Marc. We will be projecting on a professionally converted s16 gate. And I will take your excellent advice and do a framing chart only on the 1st roll, since we are not changing cameras.

Quick question: Doing camera tests tomorrow morning -- Do I need to shoot a framing chart at the head of the roll even if I am NOT intending to telecine? Shooting s16 on Arri3. Will only make workprint for projection. Thank you!

Maybe I scared everyone off.

Apologies about the confusion. I do appreciate the time of members here. Here's what I'm after, so your input will help tremendously. Thank you. The set-up: - The scene takes place in a confined space: a booth - Actor is looking directly into camera - A *single* flash goes off every 5 secs (flash comes from offscreen) -- mimicking the effect of an old photography camera flash - Between flashes, the frame will be normally lit w/soft light ie, it will NOT be dark. - Camera: Arri SR3, running at 24fps with 180 degree shutter - Planning to use the Atomic 3000 DMX strobe light Goal: - Want every single flash from the strobe to register on film Questions: 1) Do I sync the strobe with the camera, then let both run as they may? 2) If not the above, then do I set the *speed*/duration on the strobe light to be slower than the camera ie, 1/24th of sec on strobe and let the camera run normally at 1/48th of a sec? 3) Do I expose to the normally lit interior and then let the strobe flash goes 1 to 3 stops over? Or do I expose to the flash? 4) Lastly, how do I meter the strobe? I have a Sekonic digital light meter.

Would anybody know if I can sync a strobe to a SR3? The scene I'm shooting takes place in a photo booth, and requires the effect of an old-fashioned camera strobe -- the flash goes off and it "holds" on the actor for a second. Should I set the frame rate to *more* than 1/48th; say 1/60th? Or should I simply sync strobe with 24fps camera speed? Please help!

Thanks so much for your comprehensive response, Tebbe! I will definitely look into the Illumina. There is a very good chance I will be able to get the Angenieux 12-120mm zoom in a few days. Since the look I'm after is vintage 70s and 'dated,' I am hoping this lens may help. Since we are fortunately able to test, I can now try a combination of Stocks (Ektachrome 7285 vs. Fuji Vivid 160T vs. Fuji Eterna 400T) and Lenses (MK3 vs. Others). Lastly, any suggestions on diffusion/filters I could throw in there when I test? Thanks.

Thanks for your comments, everyone. Very helpful. Yes, we are positively looking to invest time and resources into production design. Depending on budget, the option to use the Cookes or other lenses may still be on the table, however the suggestion to stick with the MK3 and focusing more on the film stock and lab process seems sound. Any thoughts on the following: 1) What would be your personal preference between Kodak 7285 (100D) and Fuji color reversal? 2) Is the E6 process same as the "cross process"? 3) Any idea how strobe flash would appear on film, using color reversal stock (action basically takes place in a photo booth). Thank you again for your responses; they are very helpful to me.

Thanks, John. Unfortunately, we cannot 'cut' anything together because the whole thing is one take/one shot, there is no cut -- the guy is basically talking to the camera while the strobe flashes go off simultaneously. I am looking for specific feedback on the above strobe models, that is if any of you gentleman have tried it (which I am sure a number of you would have had). Any thoughts?

Set up: a guy is having his photograph taken in a photo booth. I need to create the effect of the strobe flashes. (Being able to control the duration of the strobe flash is a must.) At the moment, we are considering the following, none of which I have any experience with...so your thoughts/suggestions would be greatly appreciated. We're shooting S16 on the SR3. -Atomic 3000 -Unilux H3000 Anything else you would recommend? Thank you.