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  1. I have a project coming up where we're going for a similar effect; major reference for us is the work of Roy Andersson, like "World of Glory" (available on Youtube) and "Songs From the Second Floor." My plan is to use Kodak 7229 (a low-contrast stock) and overexpose by a stop, then pull. This will not only decrease contrast and color but will also tighten grain structure. Flashing the film requires special equipment like the Arri Varicon or the Panaflasher. OR, you can take the slightly risky DIY route by filming an underexposed and out-of-focus grey card, then rewinding the film and shooting over it. But it seems to me that pull-process is more practical and more effective, if you can get that extra stop of light.
  2. Would love input on a very basic set-up... Int. Bedroom- Night. Tiny room. A queen-sized bed nearly fills it. A single practical lamp (250w w. dimmer) on a nightstand (at the edge of frame left) lights the room. The shot is wide; there is enough space for me to squeeze a Diva 400, or even a 4x4 Kino (but this seems overkill) against the wall, with 1/4 CTO and some 250, to extend the practical across the two people lying on the bed. Along with some beadboard to fill from camera. Thoughts? Seem realistic/motivated?
  3. Yes, in the wide shot it is clear that there are two sources... one hitting the table from the left, casting the lamp's shadow, and another hitting the actress from the right. It just seemed to me that the lamp's shadow was hard enough that the shadows from the blinds would also be visible.
  4. Check out these stills. The character is sitting at a window, presumably lit by the sunlight pouring in; there are blinds on the windows but no venetian patterning on the actress' face. Any insights how did they light this? And I wonder why?
  5. From that list I would use either: *35mm/f1.4 Zeiss distagon *50mm/f1.2 Nikkor And ramping from f2 to f4 sounds good.
  6. Zeiss says: "The Ultra Prime lenses are lightweight standard speed lenses that are a perfect optical match to the high speed Master Prime lenses." Which seems to suggest that the extra stop is the only effective difference. <http://www.zeiss.com/c125756900453232/Contents-Frame/a2aaa506be154224c12576c70051eea8>
  7. Various film stocks and sensors are capable of capturing a limited set of colors within the entire range of visible wavelengths. "Color latitude" could theoretically be narrowed by, for example, under-exposing by 2 stops or telling the lab to do bleach bypassing while processing your film.
  8. http://www.vimeo.com/17368204 Any comments and all feedback are welcome and graciously accepted!
  9. Shooting a scene in the Hamptons. Sun will be behind the actors, this is inevitable due to location and sun/sky trajectory. The director is fine with the wide 2-shot being in somewhat of a silhouette, so I figured I'd match the CUs with a high-contrast ratio on the face (3:1, with help of 6x6 1/2 LiteGrid). [Originally, I thought about raising a 12x Lite Grid above them, but the characters are standing about 12 feet apart and I don't know how I could rig the frame so that it cuts the sun realistically [without a huge patch of shade] and so that it isn't in the background of the frame...] ANYWAYS: To try and minimize the silhouette look, I think I'll set up one or two large bounce sources (12x UltraBounce or Griffolyn) and augment with REFLECTOR BOARDS. And, aside from any advice concerning the rest of my set-up, this is my main question..... ***Would it be more efficient/versatile to use a glass Mirror Board and shoot it through 4x4 silks, or to use Gold Lame?*** Again, I mostly want to achieve fill, but providing a kicker might also be nice. I figured the glass would give me more control and distance than the others, but I want to avoid a hard, fake, overly punchy effect. Thanks y'all!
  10. ***AND, what are optimal lenses to shoot with if one is using the EX1 and Letus Ultimate? Thank you!
  11. So I was planning on shooting this short film with the EX1 and the Letus Ultimate, and to get the best picture, I figured we might as well rent Zeiss compact prime cine lenses. Does this set-up make optical sense? Or will our images be hopelessly cropped and zoomed in? Say, for example, I put a Full Frame 35mm lens on the Adapter -- what will happen? If I want to use full frame cine lenses, would I have to use the EX3 with 1/2" Relay Lens for proper results?
  12. Somewhat off-topic, but trying to find out: would it make sense to shoot on the EX1/3 with Zeiss CP.1 Compact Primes? (with a Letus Ultimate 35mm adapter?)
  13. Shot this film for an intermediate production class at NYU. (Also wrote, directed, edited). http://vimeo.com/12173926 What do you think? Criticism accepted. For those who do, thanks for watching.
  14. Well, when he shoots he generally just shoots with available light... So he saves time by not going into all that other unnecessary "lighting" stuff DP's sometimes talk about.
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