Shashank P Walia

Hello All, In terms of important cinematographic works, what are some films that comes to your mind for a - high saturation and low contrast look. Examples from both digital and film will be appreciated. Thank You. Shashank

Hello, Greetings to all. I am going to shoot a few long sequences for a narrative feature soon which is to be shot in a moving bus. The is to be shot in India where the roads are a mixed bag, some part is quite smooth and some a bit rough. Also we will be filming in an old bus whose shockers would not be in great condition. So it would be great to get few ideas around the ways in which we can accomplish some dialogue sequences in a moving bus with the best stability. Scenario 1 : A good tripod head supported by few sand bags but there will be some sensor roll off that might come in case of bumps. Is vibration isolator a good idea? Scenario 2 : Gimbal handheld or supported further by an easy rig. This seems the best option for me to try . Scenario 3: Steadycam seems like an ideal option but could be an issue when it comes to budgets etc. We would be filming this on a Red Helium with Ultra Prime lenses with a clip on matte box with some ND's. Importantly, to put the bus on a big trailer is not an option and also pulling the bus with a rope with the help another bus would be very tedious but could be considered. All suggestion on the best ways to accomplish this would be welcome. Any thoughts on help with the sync-sound would also be great. Warm regards, Shashank

Hello All, Greetings. What would be the best way to master a 2:1 output from 2:35 :1 frame. If we are filming with Red Komodo in 6K 4:3 with 2X i.e 4320 x 3240 (de-squeezed 8640 x 3240). Also keeping in mind if we are using a 2x lens. How much of a resolution loss would be there Regards, Shashank

Hello Had queried about use of spherical as well as anamorphic lenses for a diploma film project in a different forum. Now I have decided to shoot the film in both the formats - flat as well as scope. If I shoot 1.33 spherically and 2.35 on anamorphic, then the negative will be scanned to 2048 x 1536 (10bit dpx) in both cases, if i am using the universal gate on Arri 535B (4perf). Now how will the project be finished to final 2K DCP post grade if the film contains both the flat as well the scope material. Also due to Kowa Prominars not being in perfect condition, we might be sourcing Hawk C Series lenses from the rental. Can the members reflect on the look and image qualities regarding the same lenses. Will be shooting the spherical portion on Zeiss High Speed Lenses. Thank You Regards Shashank Walia Class of 2011 Film and Television Institute of India

Hello Few queries regarding the same. If I shoot 1.37/1.33 spherically and 2.35 on anamorphic, then the negative will be scanned to 2048 x 1536 (10bit dpx) in both cases, if i am using the universal gate on Arri 535B (4perf). Now how will the project be finished to final 2K DCP post grade if the film contains both the flat as well the scope material. Also due to Kowa Prominars not being in perfect condition, we might be sourcing Hawk C Series lenses from the rental. Can the members reflect on the look and image qualities regarding the same lenses. Will be shooting the spherical portion on Zeiss High Speed Lenses. Regards

Few shots taken on recently serviced Kowa Lenses.

Miguel We might actually be shooting in a small room, but again I have realized in past few days thinking about anamorphic aesthetic that one has to embrace these aberrations or characteristics to fulfill a language for the narrative. To think of it in a different manner, why should wider aspecr ratio be always thought of to be used with wide landscapes. 2.35 can also be used as a minimalist device to use negative space. To create a sense of emptiness. Just a thought. Thanks for replying. Shall share more tests soon.

As mentioned in an earlier list, I am about to shoot my final diploma film. We are in a process of finalizing the visual form of the film and using anamorphic lenses is one of the ideas. We have Kowa Prominar lenses available at the institute which got serviced yesterday. With few students along I took few shots just to see how they are performing post servicing. Although I intend to shoot my diploma film on 35mm Film, these few shots were taken on an Arri Alexa XT. Prores HQ. Rec 709. In available light. ND filters were used in exterior shots. It is not a test but I would like to have a feedback on it from the members, not only with respect to technical elements like distortion and flaring but also using these lenses and format as an aesthetic choice. Would be sharing detailed test on film as well as digital soon. Regards Shashank Walia Class of 2011 Cinematography www.ftiindia.com

I intend to be be using anamorphic lenses to achieve a 2.35 frame for most part of the film. Some part of the film is to be output to a 1.37 ratio for which I am inquiring, the kind of image both technically as well as aesthetically could be achieved by pillarboxing a 2.35 frame. You are right about the spherical lenses with respect to the cinematographic history. But the idea here is as I mentioned to create as little difference between two different aspect ration w.r.t frame related elements. Thanks.

Mark, The film in addition to the narrative, also intends to follow a journey of the medium itself, which is 35mm film( in the context of Indian film history). In 1.37 frame, lensing and composition shall create that different look or difference rather than the elements within the frame such as tonality, texture, depth of field etc. That's the idea right now. Also the duration of the film is 25 mins and having very different formal aesthetics might not work. So even if we are working with different aspect ratios there shouldn't be a stark difference in the imagery. David, I am already in talks with people for the same. What I would like to know is the kind of visual aesthetic and feel that one would get after cropping a 2x frame to 1.37 ratio. Although I would be doing few tests before the shoot, but there is still time for that. Do you have any references or examples for the same. Just for some clarity. Thank You all.

Hello I am about to shoot my final year diploma film on 35mm format using anamorphic lenses ( we have Kowas availiable in the institute). The film will be finished on a 2K DCP format through 2K 10bit dpx scans on a spirit. Most part of the film is to be fulfilled for 2.35:1 aspect ratio but there is some portions to be fulfilled for 1.37:1. I can use spherical lens for 1.37 output but then the visual texture of this portion of the film wont match the rest of the film which will be shot with the anamorphic lenses. So, is it possible to to shoot the entire film on anamorphic lenses and later crop from sides to achieve a 1.37 ratio. The only problem is to compose for 1.37 on an anamorphic lens. Has it been done earlier, if yes please do provide the references. The camera to be used for the production of the film is Arri 535B. Regards Shashank Walia Class of 2011 Cinematography www.ftiindia.com

Hello I just realised that I posted this topic in an inappropriate forum earlier. Apologies for re-posting. I am about to shoot my year end final dialogue exercise in a month's time from now, the film has to be shot in studio space on 35mm film and sound synced. The film explores the internal conflicts of a family living in an lower middle class weared out house. It's raining or overcast in most part of the film and hence it is softly lit throughout but at the same time, I am trying to go for a higher contrast(not exactly very high) with lighting. Now, I am looking to create contrast within the space with respect to exterior and interior by the means of lighting (avoiding a lot of fill), a soft key coming from window bounced off a white board might work. As far as film stock is concerned I am thinking of testing two stocks, Kodak 5219 Vision 3 500T and Fuji Eterna 8583 400T, both to be pulled by a stop in combination with a low strength ultracontrast filter. This makes the colour desaturated and also makes the overall contrast low and blacks softer, but at the same time the contrast with respect to lighting would be higher (conventionally Key - Fill ratio will be higher). For lighting I plan to booklight large single sources by bouncing them off a 12 x 12 Ultrabounce and then further filtering it through a muslin. But now the issue is I need to use a very high intensity single source because I am pulling the stock as well as I am making a booklight. What kind of source would be suggested for the same? Sugesstions would be appreciated. Shashank Walia Cinematography,2011 FTII.

Hello I am about to shoot my year end final dialogue exercise in a month's time from now, the film has to be shot in studio space on 35mm film and sound synced. The film explores the internal conflicts of a family living in an lower middle class weared out house. It's raining or overcast in most part of the film and hence it is softly lit throughout but at the same time, I am trying to go for a higher contrast(not exactly very high) with lighting. Now, I am looking to create contrast within the space with respect to exterior and interior by the means of lighting (avoiding a lot of fill), a soft key coming from window bounced off a white board might work. As far as film stock is concerned I am thinking of testing two stocks, Kodak 5219 Vision 3 500T and Fuji Eterna 8583 400T, both to be pulled by a stop in combination with a low strength ultracontrast filter. This makes the colour desaturated and also makes the overall contrast low and blacks softer, but at the same time the contrast with respect to lighting would be higher (conventionally Key - Fill ratio will be higher). Sugesstions would be appreciated. Shashank Walia Cinematography,2011 FTII.