Martin Amezaga

Hi, I'm going to make a short film on 16mm. I know that when shooting on 16 mm any lense focal distance is equivalent to half its focal distance when used on 35mm. For example a 25 mm lesne used on 16mm is the same as a 50mm used on 35mm . If that is correct, what happens with the sense of space. For example: A lense with a focal distance of 25mm used on 16mm camera will have exactly the same feel as a 50mm focal distance lense used on 35 mm film? If there are any, what are the differences and how can I work with them? Is it better to use 35 mm lenses than 16 mm lenses when working on 16mm film cameras? Hope I made my self clear enough. Thanks in advance, best regards.

Hi, I'm going to make a short film on 16mm. I know that when shooting on 16 mm any lense focal distance is equivalent to half its focal distance when used on 35mm. For example a 25 mm lesne used on 16mm is the same as a 50mm used on 35mm . If that is correct, what happens with the sense of space. For example: A lense with a focal distance of 25mm used on 16mm camera will have exactly the same feel as a 50mm focal distance lense used on 35 mm film? If there are any, what are the differences and how can I work with them? Is it better to use 35 mm lenses than 16 mm lenses when working on 16mm film cameras? Hope I made my self clear enough. Thanks in advance, best regards.

Again, thanks a lot. One more question though regarding to Mr.Mullen`s suggetion to leave the camera unfiltered, wich I would prefer to do if I were using daylight stock. -If I decide to leave the camera unfiltered I must mantain that desicion trhough out the shooting, including daylight exteriors in order to mantain continuity? Again. really thankfull. Best regards.

Hi, Thanks for the tip Michael. David. It is an indoor shoot mixed with real day light, and I`m going to use tungsten sources. again, very thankfull for your answers. Best regards.

Hi. Im doing a short film soon and I was wondering how can I achive a white light look. I don`t know If I am expressing my self good enough, but I`m talking about that sort of overcast day light look where eveything seem to be flooded whith white light and light sort of wrap around faces. I think Children of men and Birth, or most Harrys Savides films are good examples of what I`m talking about. I`m using kodak vision 1, 7279 film stock and tungsten fresnel sources. -Besides using an 85 filter on camera what should I use to filter my soureces? (I found out that wratten 80 A would correct the color temperature, but would I obtain that white light?) - Going toward the 5500 Kº, or higher, will always mean a bluer light source and image? I`ll be very thankfull if someone could help me out. Thanks before hand. Best regards.

Like always, Thanks a lot!

Hi, I wonder if anyone out there could help me with this. I´m shooting a short film whith a Carl Zeiss 10-100 Zoom and whith a Carl Zeiss 1.3 prime set. I´ll only have acces to the prime lenses for half of the shooting time. (2 days) So here are the questions: -What kind of contrast/color/sharpness variation shoul I espect to have when I join the zoom and prime material? -Is this variation significant? -Should I work all the way through with the zoom lense to avoid it? -Is there a significant variation when shifting focal lengths whith the zoom lense? -What kind of image qulity alterations should I espect when using an 85B filter? (besides the color temperature compensation). Hope anyone could help me with this, thanks before hand anyways.

Thanks for the help. Two more questions: If I use MkI-II S16 Zeiss primes on a Arri Bl would it be a problem for recording sound? If its a problem what can I do to use this lenses on a BL? Thanks again for your answers. best regards.

I´m doing a short film on super 16mm. The story happens inside a café in daytime next to a big window and the director gave me the look of 21 grams as a visual reference: A crisp and sharp image with Bleach bypass look and blown up windows. I had some doubts on how would working on 16mm affect the final result: 1. what lens coul I use to get a crisp image? 2. what effect will the bleach bypass process have on the contrast, how to work with it during the shooting? 3. what effect will the BBP will have on the grain? 4.I understand that Rodrigo Prieto used Rosco Soft Frost gel on the camera to "bloom and blow out" windows in the frame, what difference does this filter have with the white pro mist filter? 5.could I also use a graduated Nd filter to reduce contrast between the window and the characters standing next to it? If anyone has any suggestions I ll be very thankfull.

Hi, Im shooting a scene for a short film next Tuesday 15th. I`ve been having some trouble deciding on how to get the results I`m after. The short was entirely shot on DV but the final scene, an interior sex scene in wich all the intrigue is finally revealed, will be shot on 16mm using an Eccalir, running at 75 fps to higlight the sexuality of the scene. The two characters involved in the scene are having sex while fooling around whith a polaroid camera. We are trying to achieve a morning look in wich all the set is barely exposed by the little light coming across the closed blinds but allowing the viewer to notice the movements of the actors. We?ll be doing closed shots, like close ups and detail shots of other parts of the actors bodies and we are triying to use a soft and flatering to the skin source that could wrap the actors and go in to shadow very rapidly(¿this is called fast fall off?), like the Kodak vision 2 stock advertising in wich a blonde woman somking, I?ll try to get that photo. I?ve been reading some posts and this seems to be an option to achicve the morning look, except for the the hard source for edging part: *For me, I love a large, soft source really far away (I mean REALLY far) through a window. The light becomes hard again at these distances, but retains a beautiful soft quality, with very little fall off. I then cut this was several branches at different distances, slightly moving as David describes. I then take a very hard source (a xenon into a mirror being my favorite) and allow a "chunk" of this light to edge things out a bit, or just add some "excitement" to the set. Kevin Zanit ¿Is little fall of what I?m after? That is one isue, here comes the tricky part. We want to somehow emulate the flash of the polaroid flashing the actors faces upto the correct exposure. Something like the code-46 scene in the disco where the actors are flashed by a stroboscope light. We did some tests, we used two 300 fresnels through a full cto to light the subject and the set two stops under, and a 2k fresnel with a cardboard that we moved infont when needed in order to achieve the effect of the flash. The problem was that we almost fried the talent and the result did?nt look very nice. As we are students we only have budget for some basic lighting: 2x 300 watts fresnels 2x650 watts fresnels 2x250 watts tota. 1X1k fresnel. We are shooting using fuji F-250T tungsten stock. Any help will be enormously epreciated. Thanks from Chile

Hi, Im shooting a scene for a short film next Tuesday 15th. I`ve been having some trouble deciding on how to get the results I`m after. The short was entirely shot on DV but the final scene, an interior sex scene in wich all the intrigue is finally revealed, will be shot on 16mm using an Eccalir, running at 75 fps to higlight the sexuality of the scene. The two characters involved in the scene are having sex while fooling around whith a polaroid camera. We are trying to achieve a morning look in wich all the set is barely exposed by the little light coming across the closed blinds but allowing the viewer to notice the movements of the actors. We?ll be doing closed shots, like close ups and detail shots of other parts of the actors bodies and we are triying to use a soft and flatering to the skin source that could wrap the actors and go in to shadow very rapidly(¿this is called fast fall off?), like the Kodak vision 2 stock advertising in wich a blonde woman somking, I?ll try to get that photo. I?ve been reading some posts and this seems to be an option to achicve the morning look, except for the the hard source for edging part: *For me, I love a large, soft source really far away (I mean REALLY far) through a window. The light becomes hard again at these distances, but retains a beautiful soft quality, with very little fall off. I then cut this was several branches at different distances, slightly moving as David describes. I then take a very hard source (a xenon into a mirror being my favorite) and allow a "chunk" of this light to edge things out a bit, or just add some "excitement" to the set. Kevin Zanit ¿Is little fall of what I?m after? That is one isue, here comes the tricky part. We want to somehow emulate the flash of the polaroid flashing the actors faces upto the correct exposure. Something like the code-46 scene in the disco where the actors are flashed by a stroboscope light. We did some tests, we used two 300 fresnels through a full cto to light the subject and the set two stops under, and a 2k fresnel with a cardboard that we moved infont when needed in order to achieve the effect of the flash. The problem was that we almost fried the talent and the result did?nt look very nice. As we are students we only have budget for some basic lighting: 2x 300 watts fresnels 2x650 watts fresnels 2x250 watts tota. 1X1k fresnel. We are shooting using fuji F-250T tungsten stock. Any help will be enormously epreciated. Thanks from Chile

Hi, I`ve been folowing this post for a while, and after reading Phil Rhode`s opinion on filmmaking education in the UK some questions came up: a) Is there any film school in Europe that can give you the training needed for the actual job market? B) If it is the case wich ones? c) And last , to Mr. Phil Rhodes. Wich film school do you consdider able to give the tools needed to enter the actual job market?

Hi Kevin, your posts are really helpfull , I'm just starting off with this deal and my native language isn't english so I couldn't understand some of the things you explained in your posts, like what is "fast fall off" and "book lighting" and what are they more commonly used for. Thanks again four your posts, thay have an incredible value for someone who is learning. best regards. Martin.

Thank you all for your answers, I think I'll wait until I can check out the new Panasonic. Thanks Peter four your link, I ended up reading Kevin Zanit's production dairy on "These Days" and it was really helpfull. again , thanks.

Thank you Mr. Mullen, your answers are always usefull. thank you for sharing your knowledge, regards.