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Andy Karkut

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Everything posted by Andy Karkut

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Excuse my ignorance, but what feature is this? The images look very striking indeed.
  7. 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.
  8. 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!
  9. 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.
  10. 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!
  11. 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.
  12. 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.
  13. 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?
  14. 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.
  15. I will be shooting on the Arri SR3 for a short film (premise: guy looking and talking directly to the camera). Director and I are mainly interested in a "normal" perspective. The look we are going for: saturated and 'dated.' My school has Zeiss Super Speeds (MK3), and though they are fine, I am planning to rent other lenses for a change. Would you fine folks be able to comment and share your thoughts on the following points: 1) What is the basic different between Zeiss SS and Cooke in terms of "the look"? 2) What Cooke lenses cover S16? 3) Is there a 25mm prime Cooke? If not, would a Cooke zoom be a suitable alternative? (will expose at f/4.0) 4) What are lenses (besides the Cookes and the Zeiss SS) could you recommend? Thank you; your input would be very valuable to me.
  16. Thank you for such great responses. This is such a great forum! For the Telecine, we are thinking about using Cinelicious, and they have a Direct to Drive option (Diamond Clear HD, 1080p). In this case, would I still need to ask FotoKem to transfer to HDCAM SR? As you can see we are looking to keep our data after neg processing 'tapeless,' will be editing in FCP and put the short film on DVDs. Lastly, is there are price difference between a one-light and a best-light transfer? So you know, FotoKem is charging a student price of $0.10 per ft. for processing. Thanks again.
  17. We are students about to shoot our first S16 short film project. Whenever we shot stuff at school, we would send the negative to FotoKem to be processed -- then we'd get the original negative and workprint back and we'd watch our stuff projected. Our school has always paid for this. Now that we are shooting and paying for our own thing, I wanted to know if a workprint is really needed, considering we plan to do a 1080p Telecine (at another post house) once the neg has been processed by FotoKem. Are there any advantages to the workprint? Should I just instruct the lab to PREP FOR TELECINE on the camera report? (again, FotoKem will not be doing the telecine; it is another post house). Thank you.
  18. I believe I get it, but want to make sure I don't make any mistakes. Here are the steps I will follow to make the nightime exterior bluer using tungsten stock (Kodak 7229): 1) Shoot a grey scale at the head of the roll, with 85 filter infront of lens 2) Cover the lens with full CTO gel 3) Remove 85 filter and CTO gel for the actual scenes (I am also thinking of using an 81EF filter for the actual scenes to make sure I don't overkill on the blue look, then finetine in telecine -- what do you think?)
  19. The apartment is small and the interior has white walls. If I am unable to use the Kinos with daylight tubes for ambience, would it be too much of a stretch to full CTB Arri tungsten lights (bounce off ceilings, walls) for interior to match the exterior balcony color temp?
  20. I am in a similar situation, dealing with mixed light. Shooting 16mm on Kodak 7229 in an apartment with a large balcony (daytime) that the character uses often. I also have a bunch of practical lamps in the apartment with tungsten bulbs. This is what I am thinking: - Use the tungsten stock w/85 filter - Use Kino Flo with daylight tubes for the overall ambience for interior apartment to match balcony - Either keep the warm tungsten bulbs in the lamp shades, or switch to the bluecoated 4800k globes from GE, for less warmth. What, in your opinion, would look more 'natural'? Suggestions?
  21. Also thinking about using tungsten stock (7229) uncorrected at night with HMI and Kinos for an overall blue look. Should I shoot a grey scale at the head of the roll under a *tungsten* (Arri 650w) light, so the lab doesn't time out the blue for the dailies?
  22. Thanks for your responses. Any thoughts on trying to create a blue early morning look during the day (we're shooting between 10am and 12pm)? My first idea was to use tungsten (Kodak 7229) stock without 85 filter. We don't have lights for this exterior scene, but reflectors and flags. (Note the sky will not be in the frame, so that makes things a little simpler).
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