LowellMeyer

I scanned the magazine. Give me your email address and I'll send them to you.

James - Can you send me the same issue? (that is assuming you still have it eight years later!)

lowellameyer@gmail.com

Auken, Borowski, and Sierkowski,

Thank you for your advice and technical concerns. Obviously, this is all stuff I've never even thought about before and i appreciate the fact that you're trying to pass on your knowledge of the subject onto a humble student like myself.

However, because of these concerns and those of our production company's to afford the post-processing of pulling the film, as well as the fact that we can't afford to get a different stock in enough time or paint the sound stage a different color, we have opted to shoot all the green screen shots on digital with the Canon 7D. Though I have my own concerns about this line of cameras, we just don't don't want to risk the amount of grain and problems we might see once we get the dailies back. We have a very limited budget, as well as man power and technical prowess in the post department and we don't want to risk a faulty final product.

Thanks again for all your help. I'll be sure to let you know how the shoot goes.

Lowell

J,

Thanks for the $0.02. I appreciate it. You don't happen to have any stills, do you?

Lowell

Sorry! Thanks, Adrian!

To whom it may concern,

I'm shooting a short student film this weekend on Kodak's Vision 3 500T 7219 Super 16mm stock and I wanted to know if anyone had any suggestions for not only shooting the stock in regards to keying/green screen, in addition to pulling the film's ISO. As of now, all the green screen work is taking place in a well lit, green screen cyclorama sound stage. My logic behind pulling the film is to reduce any film grain to make the VFX team's job easier. As of now, I'm planning on pulling one stop and making the films effective ISO 250, though if pre-rigging goes well and we have more time to finess I might even bring it down two stops to 125.

Do you folks have any suggestions/concerns that I should take into consideration before shooting this weekend? Anything you have to offer would be great.

Thanks,

Lowell Meyer

Mr. Borowski,

Thanks for that correction. Your three different films analogy helped explain the process a lot. However, for the shoot, we ended up eliminating daylight from the interior scene entirely and used kinos and practicals with daylight bulbs instead. I was extremely pleased with the shoot and I'm hoping for some good results when we get the negatives back from the lab.

Lowell

Thanks for the help, guys. I'll probably end up using 1/2 CTB on the lights and underexposing by a stop. The scene takes place during a stormy day anyway so it won't hurt to make the indoor lights a little bit warmer, the outdoor light a little bit colder, and the scene overall a bit darker.

Problem, IMHO with an 80a is the 2 stop loss from the glass.

Yeah, that was one of the reasons why I'm not too sure about the 80A. If I use it on 250D, my ISO will be equivalent to 64 and that might be a little tough because we don't have a significant lighting package and we'll be indoors.

Personally, I like the look you can get with D film under T lighting. You might want to have DSLR on hand to shoot a preview for the scene so as to know how it's looking but there is a lot of room on that neg for corrections. Also you can put on 1/2 CTB as opposed to full ctb.

The DSLR idea is a good call. I don't know why that didn't come to mind. I will definitely keep that on hand as a reference, especially when applying any CTB gels to the lights.

Hey guys,

I'm shooting a short for my film school on 16mm Kodak 7207 Vision 3 250D and the director has been changing the lighting up for a scene this weekend. Instead of window lighting for a day interior, we are to use lamps to light the scene. This causes a problem for me because we probably won't have access to a 80A filter nor a color temperature meter and I'd rather not go and put CTB gels on all the lights because it might not accurately match the 5500 K color balance of the film stock.

Do you think I would be safe just shooting the film at 250 in tungsten lighting and relying on the kodak color chips we have to get us through the DI process? I know it's better to nail the colors on the negative but I don't know how much range there is in manipulating the colors when we go into the post process so I wanted to reach out to you guys and see what you think.

Let me know ASAP as we start shooting this coming Saturday. Thanks!

Lowell