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Kenny Suleimanagich

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About Kenny Suleimanagich

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  1. As long as it's 24v and Arri 3-pin (AKA not panavision) XLR, it will power your 435.
  2. Shoot me an email and I can send you some. Kennysule at gmail dot com
  3. Gold Mount is definitely the way to go if you can afford Anton Bauer. V-mount is cheaper to buy and rent (Sony and Switronix) but I've always felt they're a little more vulnerable to dislodging. I wouldn't cut costs on batteries and camera media - use known good brands.
  4. Who supplies it for editing on a Steenbeck?
  5. Is there even a supply of 16 or 35mm mag stock left?
  6. I recently did a shoot with 16mm Reala 500D that had questionable storage and was probably around 6 years old. We overexposed two stops, sometimes three, and processed it normal. Scanned by Metropolis on a Lasergraphics Scanstation - we had a surprising amount of information on the negative even despite the crazy density from overexposure. The colorist on this, Andrew Francis at Sixteen19, was excited about how much we were able to play with the tones and in many cases we pushed it to the limit just to see where skin tones would land. I wondered if this was due to the fourth color layer adding some resilience. Anyway, you're shooting 35mm which will help with the grain. I was excited by the results and wish I had more of this stock to shoot.
  7. Early Alexas also shipped with yellow radio. Arri offered an update.
  8. They are currently installing the Photmec machines. One has been installed with one more to go.
  9. Panavision has 2-perf systems, specifically modified GII
  10. Candles are pretty close to Tungsten balance - so you're safer at 250. Look into House of Candles in Culver City, they make double and triple wick candles for more output
  11. Just saw the print at the new Alamo Drafthouse NYC/ Brooklyn. It's great! I loved the films clear affinity for the 60s aesthetic while asserting its own visual grammar in tandem. David, I particularly admired the use of filtration. Did you ever feel you were pushing it or overdoing it? I liked how the close ups on the witch's bottle kitchen scene were star-filtered (was that a net?) while the medium shot of her was clean(er). It all worked for me, and was sometimes a visual reminder/callback to previously filtered scenes. The lighting, perhaps not surprisingly, reminded me of "Far from Heaven" (2002) which is the only other recent hardish-light film I can think of shot to reference the Russel Metty-shot Sirk 1950s works. I remember reading that Lachman frequently used tungsten lamps as fill on exterior setups, to make the foliage pop more. It looks like you had a lot of fun with color, was there any discussion as to what the various colors would mean to the character and plot throughout the film?
  12. There was a similar thread about this. You might find it helpful. http://www.cinematography.com/index.php?showtopic=65002
  13. Seeing it this weekend at the new Brooklyn Alamo Drafthouse! They're running the 35mm print through the weekend only, then going to DCP.
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