utibay

I was looking at some amazing photographs that someone did online, which used this method called infrared photography. Is it possible to do this for 16 or super 16mm motion picture? I hardly know anything about it, except that a how to site briefly mentioned Kodak HIE film. Is it possible to get this for shooting?

Hey everyone, I've got a question. I'm shooting in an office on tungsten film. There is a window, and all of the practical lights are flourescents. What do I do? Immediately I'm thinking of putting on a Greet cutting filter on the lense, then putting on CTG's on all the lights... but what about the window? Do I need to gel that up too? Because this is an on locaiton shoot, that might now be an option. But hypothetically speaking, is that what I should do? John

Well the thing is Phil, is that this short is for my experimental class-- I'm currently in Film School, and part of the assignment is the get the project on film. We have an allotment for it, plus I really, really like the look of film and would like to shoot on it for as long as I can. I guess I'm a bit of a romantic in that sense. The whole thing isn't going to be on film, however. It will be a mixed media fest: there will be some video segments and some super 8. But that particular scene is the most important, and if there was a part for 16mm, that would be it. Zeroseven, that turntable idea sounds like an awesome idea, and I would like to try it out sometime, but this particular film doesn't call for that. Also the circling shots are going to be half a circle-- the table is going to be next to the window. I will keep that idea in mind though for the future. I guess I'll go with handheld on a wheelchair -- it only costs 5 dollars a day to rent and I trust that my camera operator will do a good job. Thanks everyone.

Hi everyone, For my student film, I would like to get circling dolly shots around a person. However, I won't be shooting in a studio, but rather on location. It's also in New York City, so there isn't a lot of space, and it's a student film, and we're strapped for cash. It's going to be shot on an Arri SR, and I'm still debating on other cinematography issues, but does anyone know a cheap, compact way that can get relatively smooth dolly shots like this? It's ok if it's a little jittery since I expect to cut it with haldheld shots. The best I could think of right now is a wheelchair, but even so, I would like to know the best way to get this. Sincerely, John

Hi, I'm new to this forum, so please forgive me if I'm asking an old question. Basically, my director wants me to get low contrast, soft, warm, "sensual" shots for his interiors, so i'm a little stuck since I neither have the time nor money for test shoots. I told him that the best stock for what he's needs is the 7277 320T, because Kodak has better reds (for the warm look) and the 320T is really low contrast. I also suggested this, but I haven't tested this out. Overexposing two two stops and pulling one. I have only heard about this, but my teacher said that this will cause color saturation because of the one stop overexposed, and will eliminate a lot of grain, since you're basically wiping out the top layers of the emulsion that have larger crystals. Does anyone know how this will turn out? I am unable to tests for it at this time, but I'm curious. Basically, the script calls for a "gothic" look for the interiors because it's supposed to be the house of the witch. Also if anyone has any still frames of this they can send me, or can tell me a feature that possibly used this combination, that would awesome. Sincerely, John