Kyle Shapiro

Thank you! I think it's my best work to date. The lighting package was pretty minimal. For exteriors I used almost all natural light. A 1.2 HMI was used for fill or a rim, a few tungsten 1K units were hidden in the brush, and lot's of negative fill and various diffusion (mostly opal and 1/2 frost) were used for everything else. The interior shots (there is only one in the above list) were lit with tungsten 2Ks, kinos, and 650s.

I Just got my color corrected footage back from a short I shot in October and January. Please let me know what you think! Camera: Arri BL-4 Film: Kodak Vision 3 Glass: Zeiss Standard Speeds

Hi I was asked by a client to reproduce something very similar to the included video and was wondering how I would do it. I think the background is rear projection where as the sphere is just fisheye footage projected onto the sphere, but that seems to easy. Have any of you done anything like this before? Thanks in advance!

I just saw this at the theater today and was blown away. The cinematography in this film was excellent and I loved the lighting and color choices. Many of the shots looked as if they could have been print advertisements, which was interesting and clever. They really fit the subject matter of the film. Has anyone else seen it and what did you think? The film was shot by Eduard Grau and directed by Tom Ford. S35. DI. Panavision Camera and Lenses

This looks awesome! Great cinematography and interesting story as well. Count me in!

This looks absolutely great! I can't wait to see it.

I wish I could have shot it on film. My school had a grant from panavision this semester, so we got a panavision camera package with lenses for $300 a day. However, after buying film and the telecine process I would have been grossly overbudget. I was thinking of then possibly shooting 16mm, but I really wanted to shoot 35 and after discussing all options with my group we settled on the Red. I hope sometime I will be able to shoot 35. I never have, which upsets me. Thank you for the positive feedback.

Thanks for all of the advice everyone. The trailer is now up. www.hardcostfilm.com Looking for your C&C. None of this is colored yet.

some production stills are up on our website. www.hardcostfilm.com

Thank you so much. This is so relieving. Stupid mistake that only I would make when shooting digital but glad to hear it is fixable.

Ahhhhhhh. So are you 100% positive it can be fixed. I was losing sleep over this.

I made a huge amateur mistake filming last night and was wondering if it is at all fixable in post with a professional colorist. I am thinking no, but maybe there is hope. I recorded indoors with tungsten balanced lights with the camera set at 5600k. I shot with f-stops between 2.4 and 2.1 . Due to the low light situation I am thinking that if a 3200k filter is put on it, the shots won't even show because a CTO or CTB will take a stop of light away from the existing 5600k shot. Please give me a sign of hope...or else due to mine and my AC's mistake there will be a reshoot. :( <_< :angry:

I am a new poster here, but I know some of you have shown interest in my work so I thought I would share with you my senior thesis film. Hard Cost is a Noir/Adventure piece set in 1950's Los Angeles. We are making a film that would be compared to a blend of The Maltese Falcon and Raiders of the Lost Ark. I wrote the screenplay and will be shooting it as well on the RED ONE. The style of the film will utilize chiaroscuro lighting as seen in Cinema Paradiso and Road to Perdition. My crew and I have gone all out, trying to make this film stand apart from other student work as well as put a new spin on the Noir genre. We have the cars, the detective's office, the guns, the hard boiled dialogue, and plenty of more goodies. I will keep you posted on any Hard Cost news and will hopefully have production stills on monday The website, which is still being worked on is here: www.hardcostfilm.com Thanks for your support! My reel is here if you want to see some of my work: http://vimeo.com/3448784 MODS IF YOU COULD PLEASE DELETE THE OTHER THREAD. THANK YOU.

Thank you, both. Last time I shot on RED I did 320 and was happy with the look, so I will do the same here.

I am shooting on the RED Camera tomorrow and wanted to know what ASA would most replicate the look of film stocks: Kodak Vision 500T 5279 (for interiors) & Eastman EXR 100T 5248 (for exteriors) Any information would be greatly appreciated. I need this answered by tomorrow night (4/3/09) by 5pm pacific time. Thanks in advance! Due to urgency please feel free to e-mail me at kyle_shaps@yahoo.com