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Wiliam Cardoza

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Everything posted by Wiliam Cardoza

  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.
  13. Giray - lady in the white dress ~ creepy. Not to get off topic but did you do a quick day for night shot there towards the end? BTW love that lens.
  14. Dear Kurt, I like you already... I regret selling my Nagra 4.2 , i know who has it, I fantasize of someday ask to buy it back LOL Nagra 4.2 field recording of motorcycle tape saturation (ghetto edit)
  15. Thanks JD I'll go by there and check out those tubes. @1600 I had a F5.6 way back into the salon, it's actually a larger space than it looks in the pictures. We started so late I only managed to shoot one 200' short end, tested some low con filters and tested lighting ratios in the back room doing one stop and 1/2 stop under fill, there was a tube in the back room and an exposed light bulb. I shot some Polaroids with my Hasselblad but I had to guess using bulb setting about 2 sec exposure so they came out looking like flat, bright lighting; hoping to get a darker ambient look on film. Maybe i should have brought a dslr, to test but what's the fun int that LOL...but does anyone do that shooting film? I'm used to using my light meter shooting stills. ..
  16. Thanks Stuart I'll take that into consideration and test. I have some gels perhaps something warm, an amber perhaps or maybe even blue? How that's motivated I don't know but maybe it could look interesting?
  17. Hi Stuart, yes I want to balance to the ambient, or close to it, further inside the salon. I'll meter the space and see where i can set up lights and think it through some more. I thought the mirror running down the length was taller, I'll take some better pictures tomorrow.
  18. 35mm 500T rated at 1,600 Slow lenses a 40mm at F4 and an 80mm at 2.8 1 x 2K frenel Shooting while the salon is open, this is for a short film, we are having a rehearsal there tomorrow so i was going to experiment with lighting. Shooting for real in about two weeks. Going for a high contrast or natural look - low key, or what ever i can manage in a minimalist way because of the salon being open while we shoot and because of budget. I could possibly rent some super speeds and an extra light set up for a quick take. Tomorrow I'm going to measure the rafters and see if I can hang lights from there as another possibility to not be intrusive and to get my coverage. If you can make out my floor diagram, X marks the spot where i would shoot scenes. And i was hoping for a wheelchair dolly move down the middle hence the arrows etc. I've shot there before using 16mm Tri-x rated at 180 and I got an F2 or i might have bumped the zoom on my K3 and actually shot at 1.8??, just using the ambient about ten or so feet in during mid day. Windows face north. So at 1600 i'm figuring F11 ambient near the windows and probably wide open further inside. 1. The reptilian part of my brain says to shoot my 2K through a 4x4 and just use as fill or to raise the ambient a little bit... 2. And for the dolly shot past the salon booths for a more high contrast look i was thinking of just making a slit with the barn doors and shooting across and bouncing off the mirrors? And letting it go dark for part of the move etc. Thanks.
  19. RE: SUPER 35 centered PL mount Arri 3C wide lens search In the Professional Cameraman's Handbook it says that the Arri 3 will not accept the Kinoptik 9.8 unless the lens barrel has been rotated so that bevel clears the mirror shutter. Using that as a clue ~ I'm not holding my breath that an Arri 3-C... "three C not 3" with a PL mount and a shifted-centered lens mount will work or will it possibly? I was going to start another thread because I think i'm going through "the history of wide" backtracking to the original post getting more "normal"... So far for this camera I know a Canon K35 14mm will work (It fit but I didn't use) - but this was in LA. Closer to home in the Bay Area a 18mm super speed could possibly work but ideally i'm trying to find something that I could afford to buy. Considering some LOMOS 28, 35mm that have been PL mounted but they are in Russia and i'm weary not knowing if they'll actually clear my mirror shutter, especially after waiting a month for them to arrive. My widest to date and I've only so far shot a camera test with a PL adapter is a 40mm Hasselblad but it's slow F4.
  20. Thanks Satsuki. Yes I have the gear and the screws.
  21. Satsuki do you have experience switching motors? I have CE flat installed but worried about switching to pistol grip sync motor. Is it essentially like mounting a magazine - like just aligning the gears and you screw it on type operation? BTW jealous of your handgrip LOL
  22. ARRI 3C - Think in terms of a tricked-out 2C...but essentially the same "film-movement"... ARRI 3 I haven't used but the biggest difference would be that the film movement is more stable, pin registered, the image from frame to frame is super stable. BL3 for sync sound "Flex" I suppose that refers to the mirror ? For instance SLR = single lens reflex Handheld: Apparently the ARRI 3 is more awkward to handhold
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