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Paul Bartok

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Paul Bartok last won the day on January 1 2013

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  1. Thanks for the reply Phil. I'm thinking some combinations of Push/Pull might get us in the right direction like you mentioned Murphy used. I'm intrigued by your idea: "flash it blue but expose it very warm for a Kodachrome sort of look with blue shadows and yellow highlights" Sorry for not understanding Phil but could you please explain the "expose very warm" part to me? Are you saying to push the reds in the print?
  2. Hi all, I was just wondering if you had any advice on how to achieve this "old 60-70s faded film print" look photochemically? Particularly chasing the pastel colors and washed out highlights, while retaining those deep blacks. (I know lenses, filters and lighting are important to the look however, I'm just asking from a film processing stand point)
  3. There's allot of questions there, Basicaly the difference between Negative stock and Pint stock is the negative will be more dense and flat so that it can hold more information most negative film range from 50-500ASA, the print stock has more contrast and fixes the flat look from the negative they usaully in the range of 6-10ASA, the print stock also is made from a stronger material then negatives are because they use polyester base instead to handle repeated use. These days the bulk of the sound you will find only on the print film as it needs to be added in later, most prints will contain all formats including SDDS Dolby etc Download this PDF from KODAK page 38 onwards you'll find pictures in Negative form and really should read this it explains all your questions http://motion.kodak.com/motion/uploadedFiles/Kodak/motion/Education/Publications/Essential_Reference_Guide/kodak_essential_reference_guide.pdf
  4. You could but It just seems lazy not todo it, I think you also affect the grain doing that though Im not 100% sure on that
  5. Intermeidate film as far as I understand don't have the UV layer builtin the negative which can cause serious effects on your negative when shooting outdoors
  6. I'm shooting a low budget short film and I think we can only afford DSLR's but the director wants to finish to DCP 1.85:1 The project will be most likely be shot on the Canon 6D's any one have experience with Canon 6D or similar projected at 1998x1080 which is something like a 4% upscale, but we are talking about H.264 files
  7. Blue Valentine Directed by Derek Cianfrance, All the flash backs were shot on Super 16mm Vision 3 and 2 stocks, and the present on RED ONE. I personally think it has great cinematography especially the filmic looks and handheld, all the present shot on teles, and only a 25mm for the past. Only used one light the whole film a 6K Watch on Bluray to see the beautiful grain also was kept in the original aspect ratio 1.66:1 which is a bit different, Funny sidenote: "The cinematographer burned through 400-foot rolls of 16mm stock at an incredible rate, exposing 9,000 feet (approximately three hours, 45 minutes) in a single day"
  8. haha, Yeah its refered to as ID4, I still love that film, classic block buster of the day, funny thing is there making a 2 and 3 because the studios won't stop till they run every franchise and film into the ground instead of investing in new concepts, I wonder why people don't go to the movies as much
  9. How did the films like TDKR and TDK, INCEPTION etc. get a DCP (4k in the case of TDKR) if there was no DI, did they scan the 35mm Internepositive or at what stage did the scanning occur to produce the DCP These explain how the IMAX and 35MM prints were made: https://hopa.memberclicks.net/assets/documents/HPAA_2012_CI_TDKR_Workflow.pdf http://24.media.tumblr.com/tumblr_m9if41lWon1qb7aopo1_1280.jpg But nothing on what stage the DCP was done, I must be missing something lol
  10. One 50mm Panavision Prime please ;p jk Yes 1.6million seems small in comparsion to the large amount of debt that was vaporized before
  11. If the definition of the a bomb being a financial failure then a lot of these would of come close but remember some of these films probably only made that much because of a built in audience already, comic books or previous films that were successful
  12. ARRI 235 (love that camera as well as the next) ARRI 435 2 perf mod ARRICAM LT and ST ARRI BL2 2 perf http://www.kodak.com/global/mul/digital/flash/choices_new/EKC_03520_2Perf_SellSheet.pdf "Do you pre-load them in a darkroom? I saw this tutorial of someone loading a magazine using a light-sealed bag - and you put your hands through some sleeves and you gotta feel (no sight) that is crazy." Pretty much all fim must be loaded in the dark, not to be rude but based upon that question, Digital could be better in your case, Rent a ALEXA or EPIC. It will take you allot of time to learn how to use film properly inlcuding the workflow etc. If the DP doesn't fully understand everyrhing todo with film, how it responds to light, how the workflow is done, etc. it could reflect upon the movie It's cool that you want to shoot on film, but perhaps you should really understand it first. Remember it's like painting with the lights off, it's not as easy as digital, but the reward is well worth it. But trial by fire could be interesting All the best to you :)
  13. If your going strait to a DI with no 35mm prints, then shooting either S16mm or 2 perf 35mm is going to be your cheapest and best option, I would go for the 2 perf 35mm I don't think your going to have add that much more budget for 35mm and shooting 2 perf 1000ft will give you roughly (of the top of my head) 20mins. Which is really quite good for a single camera film. There is no way to really tell how much it will cost without actually adding everything up. Then you need to decide how you want to finish, i.e. HD or 2K, this will effect your workflow, weather you get Data scans or dailies, bestlight or one light. You will need to research and find that out and as Adrian said you can use a EDL to cut the film on really most editing softwares out there such as FCP.
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