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Paul Bartok

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  1. Paul Bartok
    This is one of the much better Film Vs Digital posts. I think hands down these days a clear win for film is archival. Things like dynamic range, resolution ect. could be debated for ever. Tho I think the term "Film is Dead" should not refer to superiority by digital but rather cinematographers in the industry being pushed out of film by greedy producers and people. If you want to get really into it, Film is on par in terms of costs with digital on the higher end productions, but for things like small budget indies, it may cost allot more due to the lower amount of film being shot etc.
  2. Paul Bartok
    Would of preferred a full version, still a good deal.
  3. Paul Bartok
    Digital to date is not a format anyone would invest in for storage. It seems that way but that's just because we're surrounded by the technology of the time that It will be easy to transfer it, because it's hard to predict what future technology will be. Wait till your "secure HDD" fails in 20-30 years time and everyone is using technology beyond SSD'S and no one repairs "some old spinning disk technology" Film you just get a lens and light and there you go images.Probably be quantum computing by then anyway. @Oliver: Don't know about 2,000 years tho?
  4. Paul Bartok
    I think it will assist with pushing the price down a bit on future cinema camera's. Seem BM know what they are doing. Anyone know if Davinci Resolve will come with it?
  5. Paul Bartok
    i think they were shooting multiple takes with out cutting the camera. Thanks guy for the info
  6. Paul Bartok
    In my opinion there is no one way but many, everyone will get there in a different way. I would personally recommend to take a course at Uni, even if it's just to get you started. Do your research and learns as much as you can about everything todo with the industry. Find local film makers and volunteer your time on set as runner or assistant to get experience what it's like on set and make contacts. For Cinematography, learn to use DSLR, learn everything about how camera's work. After try shooting on film SLR to get you away from all the cheating in DSLR'S and learn to really paint with the lights and understand your camera and light meter reading, A great cinematographer can see light stops down to a quarter of a stop in there head. Then move onto the Movie camera's. You can learn allot from the internet I learnt more from the internet then I did at school but everyone's different. Books: - Camera Assistants manual 6th edition. - Painting with light. - Filmcraft: Cinematography.
  7. Paul Bartok
    Back when I was at school my lecturer brought in "Malcolm in the middle" the TV show dailies. I asked him why the camera operator kept waiving his hand in front of the camera, I honestly can't remember, I think it was todo with saving time for the editor or something. Anybody know? and any other old school etiquette?
  8. Paul Bartok
    1+ You'll need a high quality transfer for this to work. You could pull a nice 2K image from 16mm, but it will be grainier then 35mm, then it comes down to being stored properly like a 16bit DPX file and the chroma sampling of the image. The cost of this all being done professionally may be more expensive then investing in it practically. Look into doing it practically, doing a good key isn't as easy as clicking a button it requires advanced knowledge it's a art in it's self, you need to know how todo soft and hard key's and blending them together etc. All the best on your project.
  9. Paul Bartok
    This may sound stupid, but I love RAW for the flexibility in post production is great, but I hate it because it's too much freedom, I mean I may have had a idea of a 4:1 ratio lighting then some one can just come in and lift the shadows in post or take the contrast out of the scene and on lower end films this may be the case more often then on big budget films. At least with Film stocks you get what you shoot, after that it's more harder to mess with the image or at least without the DP knowing about it. I think there both great camera's and they shouldn't necessarily have to match each other, I like how there's difference's between the cameras. Tho the one thing I dislike about RED is there over priced accessories, like $2000 for a lens adapter which is nothing but a piece of metal which comes bulk of the factory line no more then $50. And $100 for a couple of screws really...
  10. Paul Bartok
    This is just so ridiculous, just about to shoot a film on Super 16. I've kinda felt Australians haven't really liked film that much, Don't get me wrong I know there's people out there that love film as much as I do, It's just many of the people around me seem to have no clue about film it's all "Yeah RED camera" and "Look at my 5D MKIII". Shipping out of country is only putting the price up on a already pricey medium to shoot on. I wonder if that makes me one of the last people still developing ECN-2 at home for my stills in Australia.
  11. Paul Bartok
    WIKI: "The 21 megapixel sensor is down-sampled to HD resolution by only using every third line and 4:2:0 chroma subsampling" I think even with a external recorder which can do 4:2:2 storing your still not going to get 4:2:2 until the update and I think that's for the MKIII only, (not to sure) if you want a cheapish RAW camera look into the BM Cine Camera.
  12. Paul Bartok
    +1
  13. Paul Bartok
    Schindler's list's
  14. Paul Bartok
    Will not be released for sometime. But in the near future would be awesome. http://gizmodo.com/5988361/canon-built-an-image-sensor-that-sees-in-the-dark
  15. Paul Bartok

    Kodak 800T

    Paul Bartok replied to Justin Cary's topic in 35mm

    I guess were all wondering that, its tuff to say with the chapter 11 but if they do okay, they probably would release a 1000 ASA or 800. It's possible to push to 800 on django the cinematographer experimented with 800 and 1000 ASA. 500 with a one push really isn't too bad at all.
  16. Paul Bartok
    I'm thinking that as well I wonder how long it will be.
  17. Paul Bartok
    Yeah that would be awesome get everything done at once. I guess the biggest question is can the scanner do vistavision size film scans and say there's a minimum of 3 rolls or so then your looking at about 2 seconds worth of film and would need to be spliced. But could probably process more jobs
  18. Paul Bartok
    Also when its up and running, could you guys make direct positives?
  19. Paul Bartok
    That's awesome Rob, Will be able to recommend a place for people in the US, once it's up and running.
  20. Paul Bartok
    These guys did mine out of Melbourne: http://www.imagescience.com.au/pages/Contact-Details.html They scan on a Flextight 949 and can deliver RAW 3F files, something which I would defiantly recommend instead of baking in the colors The other thing is they scan for a flat profile, to avoid clipping. My Vision 3 stuff looked very flat almost LOG like before I edited them. I would recommend looking for these traits at a scanning facility and find out what scanner there using. Im sure in the UK or US you will find some great places. Next time I get any scanned I want to sit in on the session to make corrections at the scan. Looking into how to maximize my scan on the Flextights in the future.
  21. Paul Bartok
    Thanks allot. Here's some higher res versions. http://www.flickr.com/photos/republic_film/
  22. Paul Bartok
    In case anyone is interested these are some of the results from my Canon 650 SLR with a 50mm Prime. All Kodak Vision 3 500T 5219 processed in ECN-2 at home. The last image is a 2 stop push with Bleach Bypass.
  23. Paul Bartok
    Finally finished writing my article after several months of research and tests. I'm putting it out there, so if anybody in the future is interested they can learn everything they need from this article to get them going. Article Includes: - The film advantages and disadvantages. - Development times. - Procedures. - Workarounds. And much more information. Thanks https://republicphoto.squarespace.com/s/ECN-DEV4.pdf
  24. Paul Bartok
    No need to push go with a 2k scan and advise the colorist how you want the scene to look any notes from the shoot will assist such as camera reports. It's not always about the light it can be about subtracting the light to add drama and contrast.
  25. Paul Bartok
    So ur saying the shoot below taken on the 7d were exactly the same settings as the arriflex? If so then your okay vision 3 has 14 stops of dynamic range meaning you could dig deeper into the darks then you could on your 7d and still preserve details. Are you making a print or scan.
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