Giray Izcan

Here is the new link. This time, I exported as same as the original material out of Avid Prores 444, and then uploaded it to Vimeo. https://vimeo.com/133806127

Thank you Tyler. I don't know if it's me but I really like the Cooke 20-100 sections of the clip.

The original file is prores 444. When I choose to keep the source format, the file size becomes exceeds Vimeo Plus limit, which is 5 gb/week.

I recommend you download the original file under the "download" button since the Vimeo compression kills the grain structure. Thank you.

Also, is there a way to handle s16 better on Vimeo? On the original material, the grain structure doesn't get all blocky as it does on some of the set-ups on the vimeo video clip. I rendered it out of Avid at h.264, with best rendering option and multiple pass setting.

One more note, the apartment stuff including the exteriors along the fence line were shot on 7219 without an 85 filter.

Thank you so much. I'm sorry for the mess at my place. I've been on sets too much to take care of business home I suppose haha.

I just shot a couple rolls of film - 7219, 7203 to se how the two stocks match in terms of grain. I shot it on Eclair NPR w/ hard front PL mount. The apartment stuff was on 7219 rated at 500 with Optar 9.5mm lens The driving sequences along with LA city tripod shots were on 7203 - rated at 50 - with Optar 9.5mm for the driving parts and Cooke 20-100 for the tripod shots. There is absolutely no concept behind this. I wanted to put the two film stocks under various real world situations to see the result. I have a feature coming up next month on s16. https://vimeo.com/133768840 Enjoy.

I shot this small budget thing last month on 35, and the actress was like, " Oh, can you imagine how (cool) it would be to shoot a feature length project on 35?" I told her it's been done for nearly a century... haha. Scary times are approaching, certainly...

I'm not surprised at all.. It is usually the digital guys who fall into digital camera companies' trap - i.e. my all time least favorite Red - are led to believe that the film is dead blah blah.

Kodak hasn't ceased film stock production.

I was on a commercial shoot yesterday. We were shooting on the new mighty Dragon, and guess what? The camera overheated and was not usable for 45 mins... so go figure.

Is there a reason not to shoot on film? Essentially, with digital, people are trying their hardest to emulate film...

On Avid, one would create separate audio tracks, one for dialogue, one for music, let's say one for sound effects. It would probably be cheaper to do an MOS one light telecine than a work print and mag tracks. By the way, let me clarify, I am not much of an editor, but am just saying out of my general knowledge. In a way, I look forward to hearing from others who know more about editorial.

Or you could just edit digitally and go back to your neg afterwards. Cutting the picture is fine, but how are you planning on handling the sound? Sure you can get the production sound on a mag track, but how about the foley, the sound track etc? All those prints add up you know.

Agreed... I love the lingering shots and the way the movie tells the majority of the story through visuals instead of and excessive amount of dialogue.

I have been looking into a Kem 4 plate for an upcoming 35 project. I was considering editing from select takes on a work print as opposed to one light telecine. I think I will pass up on the idea due to cost involved. Having to get sound prints etc adds up to be too much. Instead, I think we will just edit on Avid and go back to neg for photochemical workflow. Let me know what you guys think.

I just watched it on restored print at the New Beverly Cinema. I was blown away with the quality... Such a good film.

The reason I am asking is that I am prepping for a project that I'm planning on going with flat 85 and photochemical workflow. I was just wondering about digital versus photochemical workflow in terms of cost. Thank you.

Hey David, it sounds great that you guys are following the photochemical workflow. Do you find any advantages to photochemical workflow over DI - considering you will have to get the color timed print digitized? Cost wise and quality wise. Thank you and good luck with the shoot.

We just completed this short. The director/screenwriter wants to turn into a feature. Here are some frame grabs from the film.

Bl4s came out in 88 and 535s came out in 1990... So there is no age difference, not to mention 535s are notorious for scratching film for some reason... Every 3db noise level increase is double the noise level.