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Ian Tilson

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  • Occupation
    Cinematographer
  • Location
    Eugene, OR

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  1. Thanks Phil! Here is a photo I took while working on one of the lenses. You can see I had to remove a number of glass elements in order to get to the aperture blades and that is where the 'anamorfake' oval and wire was inserted. This does mean that you only get the anamorphic bokeh shape if you shoot wide open because as you stop down, and close the iris, the oval shape becomes more rounded when the blades pass the shape of the cutout. In my case, we were shooting at night and these lenses weren't all that fast so I was shooting nearly wide open the whole time....but that also meant that focusing became a very tricky proposition! Here's also another flare frame grab from the movie. I agree, the flare is not over the top and I like your word..."tasty" 🙂
  2. I wanted to share a few frame grabs from a short film I recently shot. I shot ‘Forfeit’ on an Alexa Classic Studio camera capturing the images in Raw using a Gemini 4:4:4 recorder. The director wanted an anamorphic look but we did not have budget for true anamorphics. Instead, I purchased two vintage Russian prime lenses (Mir 20mm, Helios 58mm) and converted them to ‘Anamorfake’ lenses by taking them apart and inserting an oval aperture disc as well as a fishing line to promote a horizontal flare. In the end, we got a unique look and the visible bokeh does have some anamorphic characteristics. For lighting I used a mixture of Arri HMI (1.2K) and Tungsten (2Ks, 1Ks, 650s, 350s) lights to play with multiple color temperatures, kinda the first time I had really attempted to do that. Also, gelled red some of the tungsten fresnels to mimic the trucks brake lights when we look back at the police car and see the officers in and around the car. Color balanced to 4300K so the HMI ‘moonlight’ would go blue and the warmer tungsten and red gelled lamps would register a warmer temperature. Overall, a very challenging shoot as it was below freezing most of the night (down to 28 degrees) so trying to keep my hands warm enough in order to feel the focus rings on the lenses was a real challenge! In the end, the cast and crew was up to the task and I’m pretty pleased with how the final images came out. Now we wait to see if we’ve been accepted into some of the film festivals we submitted to. We’ve already heard back from the ME Film Festival and will play there in November! Cheers! Ian
  3. Hey Justin, You are correct, A slate is just a title screen that precedes the spot. This can be an animated logo that then resolves to the needed info or just plainly a text screen that has info like: Client Name Title of Spot Date Length of Spot ISCI code etc. The ISCI code is made up of letters and numbers and is between 8 - (and I think 16 characters)? I usually shoot for between 8 and 12. When we create them for our spots, we try to have the ISCI contain parts of the clients name and title of spot. Also if the spot is an HD spot, the ISCI code should end in H For example I just uploaded a completed spot to NBC Sports Net this morning with this info: Client: Abby’s Title: Abby’s Offer Two 2019 Date: 3.11.19 Length: 30 ISCI: ABBYTWO2019H Hope that helps! Ian
  4. I can also vouch for DCP-O-MATIC. I successfully converted a 21 minute short film that I had shot and then screened the DCP file at one of our local independent theaters to check the quality before sending out to film festivals for presentation. I was surprised at how easy it was to make a DCP file. Good luck with your film!
  5. And Here's the trailer for the short film Pendulum
  6. Thanks Guys! Yes Brenton, I do get up to PDX occasionally. I’m originally from there. The Ad agency and Production company I work for has clients up in that part of the state so we do go up there and shoot on occasion. Pendulum was shot in both Portland and in Eugene.
  7. Here’s a few frame grabs from a short film I recently shot. shot with the Blackmagic Ursa Mini 4.6k camera and a set of Rokinon cinema prime lenses (24mm, 35mm, 50mm, 85mm) as well as a couple of Canon lenses (100mm macro and 24mm pancake) For the most part I was pleased with how the camera and lens package performed. The one big issue we ran into early was, in low light situations (which the majority of the film takes place) the Ursa Mini had noticeable FPN at both ISO 800 and 1600. In order to combat this I was forced to shoot a lot of the film with ISO 400 to drop the noise floor which meant I needed more lights to be able to get a proper exposure. As a team we had to work creatively to come up with solutions but I think in the end we were pretty pleased with the final images. Cheers! Ian
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