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Wiliam Cardoza

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About Wiliam Cardoza

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  • Occupation
  • Location
    Salinas, California
  • My Gear
    krasnogorsk K3, Arri 3C, RED 1MX
  • Specialties
    I'm mostly a stills photographer.

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  1. Hi Samuel, Thanks for liking that shot. 500T (5219) rated at 400. I have a vintage set of 6x6 Supa Frost filters. The person who sold them to me, someone on the forum, told me I would probably like them based on some of my still photography he saw...hard frontal beauty lighting thing. I like to imagine they where named "Supa" inspired by Geoffrey Unsworth and the original 1978 Super Man, (regardless of filters, there is a scene early on with Lois and Clark on the sidewalk with brilliant late afternoon shafts of light that is so beautiful, I'm imagining large carbon arcs, Mole Skypans or something?? ) But for sure a similar filter was used on Millennium, 1989 with Cheryl Ladd that I randomly saw on Netflix... I was recognizing filter nuances similar to my Supa Frosts. And that 70's scene from "In the Mood for Love" has a similar look but perhaps that was a stronger fog filter?) Leaving behind my random conjectures LOL I also used an: 80mm lens (Hasselblad medium format w/ PL adapter). And it was lit with a 2k fresnel up and behind the camera with a violet gel covering the wide open barn doors. ND on camera down to F4. Here is the full test, it starts off clean then progressively stronger filters. W.
  2. Jarin, here is some Tri-X as negative @ 7:33 Password = test 35mm and 16mm lighting, filter, exposure tests from the past year or so for a feature I'm writing, shooting, directing. I've already started shooting on 35mm short ends, it's probably going to take me a year. I sent Tri-X to Video and Film Solutions assuming they processed reversal, they don't, they said I would lose some speed, so I went ahead and had them process as negative, (2k scan, K3 camera and Meteor zoom). This is a somewhat high contrast scene, for comparison ther Double XX starting at 2:06 in essentially the same bright afternoon California sun ...the only Tri -x is that end clip and BTW @ 5:08 Double XX shot at night, pushed 1 stop, under-cranked For further comparison 35mm Double XX pushed 1 stop. I love this but hard to get in short ends. Every cut I adjusted the lighting, there are a few seconds with a b&w filter. What I learned shooting b&w tests: the contrast you see is the contrast you get. W.
  3. Michael Chapman Talks Restoring ‘Taxi Driver’ and the Problem with Modern Cinematography https://thefilmstage.com/features/michael-chapman-talks-restoring-taxi-driver-and-the-problem-with-modern-cinematography/ excerpt below: "That might answer this next question: are there film artists, particularly cinematographers, working today who you like? It seems there’s a glut of good ones. Yeah. But they seem, to me, to be imitating each other all the time. It all looks the same to me, pretty much. They’ve worked out a style with digital; they’ve worked out a style of how to do flashy, nice things, but it all looks the same, whoever’s shooting it — it seems to me, by and large. I mean, big-time movies do it. There are obviously small, independent movies that look different. But there seems, to me, to be a certain style which has pervaded the major-movie industry. So I can’t really tell the difference between this guy and that guy, by and large; they look pretty much the same."
  4. Have you ever used this particular camera successfully? Or a K-3 at all? T-shaped lock? Do you mean the film pressure plate? That would be the thing that slots in right behind the film where it's exposed. That would probably mess up your loops...actually i just went to test that theory and the loops held. Are you closing the bottom sprocket spring? I don't know what there called exactly but it makes way for the film to be threaded and then you snap it back so it holds the film snug etc. Err i used to have problems not having the loops exactly the right proportion 1:2 top loop being slightly smaller. But i just tested that theory too and after taking out the pressure plate, the top sloop grew a proportion to be even with the bottom loop and it still held.... LOL
  5. Opening up rollers, you mean like at 00:36? Have you tried pulling up? Use the tips of your fingers and you can feel where just the top part disengages etc.
  6. Apparently it's Stanley Kubrick's birthday today...came across this picture. Is this a kind of diopter ? Seems like it would catch lots of reflections without a matte box, suppose you could use a french flag etc.
  7. I think i saw one in a Clint Eastwood film last night "Magnum Force" --- weren't they used by news reporters right before video cameras became portable etc?
  8. Shoot reversal and get a projector is a cheap way to go rather than scanning every time etc i probably overpaid for mine but it's pretty reliable. I only screwed up the first roll because i tried to load in a darkroom not really trusting a daylight spool (it actually works LOL) - the most important thing is to get the loop sizes correct top vs bottom; waist a little film and run 6 FPS then 12 FPS then 24 FPS and see if it's still keeping a loop before you close it up etc. I usually use it in one session but a few times i've driven around careful to not knock the camera around a potentially lose the loop etc.
  9. Hey Tyler, riddle explained here... from Jonathan Flanagan's "head's up everyone" the other day... Doug Milsome was the focus puller on "Barry Lyndon", he explains racking over the BNC with the Zeiss .07, about half way through the interview or so. Pretty interesting interview. ‘Barry Lyndon’ Q and A with Doug Milsome BSC ASC
  10. Thanks Guy, your balancing practicals rule of thumb helped me out on my last shoot... "Years ago Walter Lassaley, BSC, instructed me to balance practical’s such that an incident reading of the direct output one foot away from the bulb is one stop over exposure. I have found that rule of thumb gives a realistic output to the practical - the light emitted downward onto the table top and upward onto the wall or ceiling is realistic."
  11. 35mm test from a couple weeks ago... I did rent a Lowell 700W the day of at the last minute, which came in handy to test, used for some gelled fill / key. . Back room: i used low con filters #1 & #2 i like how the violet gel came out. Grading: I kinda like how it looks as far is it coming out ambient / "gritty" i suppose that's what i'm going for. I don't have much experience color grading, going to mess around with it of course, but does something like this have a lot of leeway for manipulating? A. basic contrast B. stylistic stuff ... It's a 2k scan Prores 4444 and I got some DPX cause it was such a small scan i figured it would be a good chance to try that out and for future workflows etc. Augmenting lighting: Any low budget pointers in particular treating that back room as far as augmenting the grittyness? I'm kinda digging the violet gel. i got a tiny - tiny amount of edge light from the tube fixture above the dresser; keeping in mind that the rest of the salon i only have access to when it's open so i obviously can't set up too much. etc. Thanks.
  12. I like how it looks,your lighting, accept maybe that one hot spot on the back kitchen wall but that's nit-picking LOL. Like the backstage, the thick haze going through the curtains.
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