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Adam Levine

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  • Occupation
    Cinematographer
  • Location
    London
  1. Thanks so much! So you've had no issues with increased noise in the 4k scans? This possibly doesn't make scientific sense, but I heard a few people mention that they feel like the higher resolution includes more unwanted detail in the interaction between the pixels and film grain,
  2. Hi all, Infrequent poster here. I am working with Super 16 footage I shot on a Bolex that turned out to have a number of issues - light leaks on one side of the frame, a nasty thick hair along the top of the image, and a slight but persistent registration problem. The gate on the camera was recently converted and as I used to finish on film (I make short experimental films) this is my first time actually finishing on video. After talking to a few friends, I decided to scan to 2k instead of 4k as it seems like some find the higher resolution more noisy. So, with all that background... I am thinking my workflow should be as follows: 1.Picture lock without processing any of the footage. 2. Use Premiere's Warp Stabilizer with no motion option (footage was all shot on a tripod except for a couple of shots which I will treat separately). Also select "no crop" for stabilizer. 3. Crop the image to hide all/some of the light leak and hairs. I assume that the crop will have to be the same across the whole project so that the grain size remains consistent. Am I right about this? 4. Grade and export Does this seem like the right way to go? I only ask about 4k above as I'm wondering if there will be less degradation/softening of the image after cropping, but if that resolution is noisier anyway, maybe not? The final presentation is for a video installation on two 60" monitors, if that makes any difference. Thanks so much for your help and advice! Happy to post examples if that would help.
  3. Thanks guys! Of the Fuji stocks, would you use the 64D? Or maybe the Eterna 160 (tungsten-balanced)?
  4. Hi all, This is my first post here. be gentle! I shot most of my thesis film on the now discontinued Fuji 8632, which was a 125T stock, using an orange filter in snowy exteriors. I need to go back and shoot some close ups and close inserts in very different (probably sunny) weather. I'm thinking about using a white bounce board to simulate the glare of snow and am trying to decide between shooting on another (undecided) Fuji stock or maybe using Kodak 7212, which is 100T and rating to match the 125T. Any thoughts? Thanks so much for your help!
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