Prashantt Rai
-
Posts
160 -
Joined
-
Last visited
Everything posted by Prashantt Rai
-
I actually wonder if the heavier grain in some movies shot on film actually needs to be compensated for by adjusting for projection brightness. Almost if the grain blocks out some light. Please excuse my arty and non-scientific speculations. regards to grain structure being an issue for projection brightness, may be someone with more experience needs to enlighten us here. Where is David Mullen? :-)
-
Jon. Digital projectors are expensive beasts to begin with. Compared to the lamp in a conventional 35mm film projector, the lamp of the digital projectors cost double and have half the life span. Lamps are easy culprits. Other digital tech repairs entail a team of people coming and fixing things, unlike simpler repairs on 35 projectors. Nothing ever gets cheaper with digital. A theatre chain guy once offered me a visit to the projection booth. Just one guy to oversee the functioning of 6 or 8 digital projectors. In the corner they had stacked up all the old 35 projectors. they don't have space for warehousing them. offered to give it away to me for about $1500. :-D During Digital Intermediate colour grading due care is taken that the film shows a decent contrast range and brightness range even on a very basic old school television screen. This is particularly important when Dir/DoP shoot a film with lots of low key lighting shots. On the big screen of Baselight grading suite everything looks stellar, problems can happen at low end theatres. So they balance things out. On a large negative format 2.4 looks good, especially if you are shooting anamorphic. It's a joy. My point was on S16 a scope looks a bit strange. Cropping that tiny neg leaves nothing :-) Super 16 should be the way it is meant to 1.66 or 1.85. they are not bad formats. The entire story telling in the form of framing and shot execution could be different from Anamorphic 35. So tall formats too have a place for a different type of storytelling. I loved the late 90s and early noughties when still quite a few Hollywood films were shot on spherical 35 for 1.85 projection. I liked it.
-
"with the intention to show it as 1:11.85." I meant 1:1.85. :rolleyes:
-
Jon, Super 16 stocks from Kodak Vision3 are amazing. Good Shadows and ability to withstand harsh daylights. I shot this feature with the intention to show it as 1:11.85. I lit it slightly over sometimes to keep the whole frame dense. in some scenes I did shoot with bare minimum and the grains don't blow up. We projected it on a big screen and it was okay. Certainly not 35 standard but not many could make out the format. During D.I. people tried to make 2.4 :1 print out of it. It didn't quite looked like I had intended it to. the Focal lengths everything looked wrong. We reverted back to tall format. In distribution there is a mindset that unless a film is scope it really isn't a film. I disagree. I have seen so many 16mm format film projected in tall format and they look good.
-
NEW film camera - Logmar Magellan 65mm camera
Prashantt Rai replied to Stephen Perera's topic in General Discussion
I read the whole article and the launch of new 65mm camera does sound promising. However, the cost of processing is beyond the reach of ordinary - about $730 per roll and upwards of $11,000 for an hour of footage. Is there a cheaper alternative to the processing? :-D -
greetings everyone! am looking for inputs regarding getting my camera serviced in U.K. Can someone point towards good repair/maintenace guys? Also need to get Zeiss 11-110 focus ring to be sorted out. thanks
-
Is Telecine of 16mm film at HD used for final edit?
Prashantt Rai replied to Stephen Perera's topic in Post Production
Agree with what Rob says. My documentary footage (S16) looks good on 1080P HD "Scan". -
Arri SR3 filming a CRT Television
Prashantt Rai replied to Suzanne Friesen's topic in Visual Effects Cinematography
filming PAL TV screens is so easy :-) NTSC not so much I guess. -
Kodachrome: THE MOVIE
Prashantt Rai replied to Samuel Berger's topic in On Screen / Reviews & Observations
would love to see the trailer. -
Well I am making an epic documentary on S-16. no one seems to be talking about it :rolleyes: 2 years in a boat and the marine environment consumed my MacBook Air, my iPhone 5, and one odd other electronics that wasn't 'marinised' enough for sea. that vintage SR3 somehow keep running. I just wipe it with a moist cloth and then lick to check if any salt is there on the body. :) some exposed and raw cans lay in the boat for months experiencing temperatures from -10 C to 38 C before I found a port from where I could ship them to Massachusetts. Surprisingly a JVC handycam has so far performed well. I keep it wrapped in a plastic bag all the time. :D
-
do people shoot film there? any labs? or is it just completely digital? heard Christopher Doyle shot some really awesome films there as DoP.
-
hey everyone, I am trying to assemble a montage of sequences shot at 6fps. My intention was to do a step printing kind of thing to produce streaks of cars' taillights in traffic and a sea of people crossing at zebra crossings. Do correct me if I am wrong here. I was thinking of making triplicate copies of every 6 frames and then putting them in linear order to have the desired streaks effect. how can one do this on an fcp. I have some knowledge of editing. the footage was shot at 6 fps and transferred at 24 fps. I wish it was transferred at 6 fps. I will really appreciate some inputs here Prashantt
-
and when is the call for feature films?
-
The last two feature doc's I made were both 1080p and both screened in theaters, they looked fine. Remember, MOST theatrical content is 2k, which is basically the same thing. Dan and Tyler, thanks for the input. So I need not sweat for any additional workflow procedures. I will do the edit now.
-
Greetings Everyone! Need some advice here on a sailing documentary which I have shot on S16 with an Arriflex SR3 camera. After a lot of struggles and failures, I have reached 50% of what I really wanted to achieve. Anyways, I have started assembling the footage. Cinelab Mass., has done a good job. I have the negatives scanned to 1080p HD without timecode. Few editor friends of mine suggested that I get the negatives scanned again with a timecode and then with a final cut timeline get a 2K scan and grading done the way we do for movies. I wish to showcase the documentary in film festivals. Do you think an HD output won't do justice? Generally,what formats are documentaries shown in film festivals? advice and suggestions welcome.
-
whats the equivalent of iMovie on PC? maybe you can use something simple for your needs. I have edited a couple of super 16 projects on iMovie.
-
hahaha. nice one. I kept things simple - shooting with an 8mm lens mostly. :-)
-
Nicholas, I forgot to mention the format. It is Super-16. I did tag the video with super 16 but didn't mention it in the forum. cheers
-
<iframe src="https://player.vimeo.com/video/244517536"width="640" height="360" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> <p><a href=" ">iron sportster 883 hd</a> from <a href="https://vimeo.com/user18835395">Prashantt Rai</a> on <a href="https://vimeo.com">Vimeo</a>.</p> https://vimeo.com/244517536 I shot this long time back, early 2014 perhaps. Had the negatives scanned, graded, and 2k footage stored in a hard drive. The drive crashed. Data recovery guys were asking a lot of money. I got it scanned again now. I shot this with a focus puller and a driver one early morning on Kodak 200T.
-
Simon, pressed the red down arrow by mistake. wanted the green up one. damn the touch screen. can administrators undo it please? :-)
-
can you recommend some festivals where low budget Indie shot on S-16, with no celebrity value, would be welcome? Another feature I worked on S-16 is almost ready now. It's a low budget Bollywood Indie. I should be able to post the trailer in a fortnight maybe. and my documentary on a sailboat, also shot on S16, is still in the making. I would be happy to hear from members of forum and experienced cinematographers as to what kind of film festivals I should aim for. cheers everyone.
-
Arri SR3 HS (Super-16)
-
And I shot this short video on S-16 with a basic SD telecine.
-
Thanks to all of you for kind words. The director also believed that S-16 would be ideal for this kind of project. I sincerely hope the films see the light of the day, one day! :-)
-
Shot on Super 16. Kodak Vision3 Stocks. 200T and 50D.
