Andreas Wessberg FSF

thanks for your input on this. I guess there´s nothing to worrie about.

If it looks good it is good. The agfa was really so much nicer than regular vision,

clean and had a more expensive look if you know what I mean.

But that´s my opinion yours may differ.

andreas

Hi!

For an upcoming feature I made test to print on both kodak and agfa.

First time with agfa for me and I was really surprised with the result.

Kodak had much more grain in the overexposed areas.

I thought agfa was a kind of low budget stock, but what I could see it was

alot better. I even had the lab to dubble check that they hadnt mixed up the reels.

Anyone with the same experience or comments on this?

Do I dare to go with agfa! I will of course do another test when it´s time to do the prints.

andreas

Ok, this is getting a little to technical for me. What I understand red is 5000k and thats it, right.

So when I shoot night scenes with alot of tungsten I ad a 80somthing filter to the camera

and rate it somewhere 100asa to avoid a noisy image? just like you do if you for some reason shot 5205 at night.

In that case it will be alot of tungsten lights.

Why didn´t they build the camera for 3200k instead? so I could ad a 85 during daylight takes, makes much more sense in

my world. But maybe my world is small and strange.

andreas

Erik. I shoot a 2perf feature last summer here in sweden with cameras and lenses from Solid entertainment.

Contact me if you want to now more about it.

andreas

I won´t reject any camera or format. I welcome all new products.

Different tools for different projects.

Sometimes you need to shoot 35mm for the latitud and "beauty" and somtimes

hd because you need a higher ratio or just like the look for that project.

I just try to see all digital cameras and formats as different filmstocks.

andreas

David and Phil, Thanks!

Always great and full information from you. Are guys superheroes?

Can´t say I totally understand everything but I get the basic.

I think I will continue to trust my eye and consentrate on the lighting and framing, leave the technical to

the ones who know.

0K or 6K, If it looks good then I´m ok.

andreas

I´m really bad with all this technical stuff.

But I get it, Red is not 4K. But how many K does the camera record then?

3K 2K or just 1K?

Can someone of you please explaine how to do the maths.

Andreas

Must say as much as I respect Bale as an actor there are no excuse for in public go on like that.

As David Mullen so well describe there are a lot of pressure at a filmset, but still, after being a dp at

five features and ten tv-series I have never ever been close to something like this.

A lot of pressure, sure, but this is smply to far out.

I did like the 14year old thing, never thought about it before.

Andreas

Hi Bill!

First I want to say that I live in pal country and I´m not a tech wizzard.

But I´m shure you can fix this.

If it´s shoot in 60p it looks like interlaced but with better resolution, right.

If it was shoot interlace it would be simple to do a deinterlace to it, but as far as I know it´s alittle trickier

to interpolate two full frames instead of as in interlaced two fields.

Here in europe we shoot video at 50p or 25p so we don´t have to bother about the 3-2 pulldown, don´t know if this 3-2

will make it harder for you to convert 60p to 25/24p

But I know it´s been done, so just relax and

wait for someone who can explain the details.

good luck

andreas

Using a collimator is probebly the best way, but I have done the

same with just a siemens star with nice result.

Not shure about it but i belive it´s a good idea to do the test at different distace aswell,

like 1, 5, and 15meter.

good luck

i´m shooting a feature right now using a kinor with pl mount.

The gear comes from Solid entertainment, and what I understand they did the conversion

themselves from oct mount.

Even the lenses I use are converted oct.

the kinor is also updated with modern electonics.

http://www.solidentertainment.se

great stuff

andreas

andrew. It´s nothing wrong with ambitions.

This is a really fun thread. Please continue to post your crazy ideas.

One day you may do it for real.

But as said, do a couple of shorts as well.

good luck.

andreas

What can I say?

This sounds like an interesting shoot.

60 cameras, are you for real? I´d love to be on your set.

Had five 35mm cameras once, thought that was big.

Is it gonna be highspeed as well?

Good luck and money,.you need it!!!!!

Andreas

Hi Andrew!

if you shoot 3 perf in super35 you will have the aspect ratio 1.78:1

With standard gate you will have 1.57:1,

andreas

Hi

i´m in prep for a feature shot in 35mm with a 2k.

Because of the tight budget the producer want to use the cinevator

wich I have no experience with. I know it´s not as good as the arrilaser, but...

Has anyone here done a test between the two or can anyone here who knows more

inform me about how bad or good the cinevator is.

I will of course as soon as possible do a test myself but need info know for discussions.

Thanks

Andreas

Problem solved!

The rental house manage to dig up another camera for our first weeks.

so know I can cintinue to consentrate on the film instead of technical problems.

thanks all for all helpful info.

andreas

Hi bruce!

Yes, it`s anders Bankes cameras that´s going to be late, all of them kinors and bl4!

I will have the producer to check shipping costs and contact you if.

Thanks alot for trying to help us out.

andreas

Hi john.

I know about the arricams, but the problem is that they are a bit expensive,

in that case it´s probably more economic to rent an older camera and go 3perf.

andreas

Hi all

I today found myself in a situation I thought was nearly impossible.

I´m in preproduction for a feature and we find out today that

the camera we boked will be four! weeks late. Crazy I know, the camera are for some reason stuck on a shoot in russia. Help!!!!!!!!!

Any ideas where we can get another sync 2perf for our first weeks.

We need the camera from 12th june-4th july.

Highspeed serie also of interest.

The shoot is in sweden but the hole europe is of interest.

Of course we can go 3perf the first weeks but budget is tight and I really need that extra

perf film.

Any ideas, please!!!!!!

Andreas

Rodrigo, have a look at The time of the wolf, Your idea of a lighter is close to how Haneke/Jurges did it.

They had the actors to put fire to some hay in a barn and then in a field. Eventually if I remember correct

the whole barn took fire. It was very beautiful and autentic. The scene might give you some new ideas.

good luck with your new film, really looking forward to see it.

Andreas

Or you can do like Michael Haneke and Jurgen Jurges did in The time of the wolf,

Roll the camera and film in complete darkness. Some say wast of film, but I really

liked it, very autentic.

Please, everybody. cant we just stop all this bullshit.

I come to this site to read and learn and sometimes reply when I have something of value to say or ask.

i´m so tired of all this nonsens, if red is the solution to all our problems or just a piece of junk. Good informative

posts get lost in all the bullshit.

I will before my next feature(35mm) this summer do a short on red, and I´m really exited to try it and see what it can do.

After that i can be a part of this red discussion. all for now.

andreas

We jused a canon hj11 a few times, as u say mitch it will make the camera looong. But it´s still useful sometimes, not worse than pro-35 with optimo zoom, thats heavy.

Backfocus is a big issue with the converter and zoom, bring a star, collimator and lasermeter.

andreas

Hi!

You need a monitor that can turn the image upsidedown, if not turn the monitor upsidedown.

The image will be anamorphic in the monitor and the finder. Some monitors I know can fix that, but the accuscene is the only finder I know about that can both turn the image and compress the image to normal (wide mode). It´s also in color and a wery good tool with a lot of settings, read the manual properly before you start working with it.

I can recomend ziess digiprime, they are the sharpest lenses for video, canon primes are good as well. I shot with fujinon lenses wich cause som trouble for my focus puller.

Hi Andrew!

I shot a feature with the canon adapter this spring. The film is called ISCARIOT and the premier will be in mid november in sweden. I can keep you informed about if it will show around the world and when it will be on dvd.

I was a really nice piece of glas and I had no problem with it, turns the image upsidedown so you need to use a accuscene finder that can handle that and adjust for the anamorphic image.

Backfocus is hard to deal with though, espcially when you put a zoom on the camera.

But the hardest thing is to find the converter, don´t think canon sold alot of them.

Good luck

Andreas Wessberg f.s.f.