Noelle Kale

Hey, the 2 Davids. Hi guys. David M, thank you very much and yes surviving breast cancer was definitely more satisfying. There's a movie in this somewhere ;) David S., hiya. Thanks re: website. I need to spiff it up some more with shots from our productions at some point. I do some cinematography, mostly on our stuff though. I don't feel confident enough to work on other's projects at this point, I'm still learning. I took a crash course at PanaVision for the PanaFlex XL2-gosh that thing has so many gadgets on it, overwhelming. I like using Arri more. But, yes, I do also like to find out what that crazy guy behind the camera (when it's not me) is doing. I literally love every aspect of filmmaking and delve into all of them. Amazing thing: the more I learn about other roles and positions on the set and actually learn how to do them, I find that it brings more depth and better quality to my projects and skills. For instance in the beginning: having been a script supervisor helped me understand more about sound and camera operation as far as angles and shot set up (not to mention you work closely with directors-they do remember me when I audition this is a good bad thing: 1. They put me in a box as a script supervisor so I really have to nail the audition and break out of the box 2. They know me and the familiarity as you know how this business is, always helps) and then that dominoed and helped me with acting then that also helped me understand writing, because I know what an editor needs (having editing a lot of our stuff) to make shots work, I became a better cinematographer and director, etc. Alrightie guys, great chatting with y'all. Take good care - talk again soon. N

Wow! Impressive! I love your stills section, beautiful work. Best, Noelle

PS Akeelah was great!

First congrats to you David. I've been away a looooong time. I just left a post in the gen. discussion area - my hubby and I had some tremendously great things happen and one not so good. The Emmy noms - good the breast cancer - bad. I'm fine now. We moved to Burbank recently from Vegas (our careers needed for us to be here) and our son has chess club in Santa Clarita. We love it there, beautiful. Is there a lot of outdoor shooting? Take care and be sure to get lots of rest. Best, N

Alrightie, it's been about a year since I've visited here (bad filmmaker - bad) :( I got the clarion call to change to my real name But been busy and all good stuff: 1) Last year my hubby and I received Regional Emmy noms for our doc: Baby Doe's Heartbeat in writing, producing and music composition (yes we're musicians too our band is Amoureux-our first full album is due out on our wed. anniv. 2-10-06) We didn't win darn it! We won't lie, we wanted it badly--very badly, but it's ok. We're young and there's lots of future chances. Plus we got these really cool looking plaques that sooth the soul when we pine. 2) We moved out of Vegas to Burbank, CA (and there was much rejoicing....yeah) gotta be by the beach! 3) I got breast cancer (not so much rejoicing-but I'm healed now no chemo-no radiation - natural therapy in another country-this is a whole other story) 4) I joined SAG (yes, I'm an actress too) Needless to say, we've been super busy and preoccupied. Now that we're in Burbank we've been able to work on films mostly. We also have a few things cooking for some cable stations (brings the money in) then there's "our" films that are art (or at least trying to be-lol) Wow, so much has changed here and I've lots to catch up on. I'm sure none of you remember me and that's ok. I'll drop in more and make a pest of myself. It's good to see everyone here. Take care y'all and have a safe weekend. N

Hi Ariel, we're looking into blowing up from S16 to 35. So far we've contacted FotoKem in Burbank. They were really great about explaining the entire process. A bit on the pricey side though. They recommended a direct HD transfer (master) in which we'd get the telecine from and then also be able to pull the shots from the EDL. We're not sure if we're going this route, (and this is just a quick summary of the process) but they may be able to help you make a decision which route to go. Check with a lot of labs, you'll be surprised how differently things can be done from lab to lab. Good luck.

Hi Abby, my husband and I shoot in Vegas where it's always unbelievably hot in the summer and the spring and fall. Some of the things we do to help make it more manageable (our expereince is with Kodak, haven't used Fuji yet but maybe this will help you): Keep the film shaded and out of direct sunlight - one time we left it in our truck and eventhough it was in the shade, it warped slightly. Film is pretty durable but, this desert heat which sounds similar to Arizona, can make it cranky. Lately, we've been using a fly for overhead protection as it's starting to get hot. Also, if you can afford one of those really cool insulated bags I suggest you get one. If you can't afford one, you can try using a car window sun shade, the kind that look like aluminum foil and keep it over the film stock. Oh, gosh, one time (I think it was on a student project) we were noticing our film taking a beating and we didn't have anything to speak of to protect the film so we used some aluminum foil from someone BBQing nearby. There should be a temparature recommendation on the back of the film can. Do your best to keep it at that temp. range. We've never really noticed any changes in the film's behavoir except for that time it warped slightly. Just remember to keep it shaded and as cool as possible without making any extreme temp. changes. And make sure you take care of yourself too. I've passed out once on a shoot when I was script supervising. Drink plenty of water. I hope that helps a bit. Good luck on your shoot and congrats on getting this gig.

This sounded like a really intense shoot but rewarding. Thank you for keeping a journal on line. It's very encouraging to know that all productions have it's ups and downs. We're not around a lot of production crews here in Vegas so there aren't many people to share the day's trials with. This isolation out here makes you start to believe that you're the only one having troubles and then there's no one around to share your triumphs with. Thanks again.

Thanks for all the input everyone. I was reading a thread about conversion, there's a guy in Vegas that does conversions, not sure if he's good or not. At the moment, I can't for the life of me recall his name.

Odessa Steps from Battleship Potemkin, travelling shots at Isengard LOTRFellowship, Lake shots in Knife in the Water, closing shots in Nights of Cabiria Lots of goodies in Forrest Gump, Okay, here's a sappy one but hey, I'm a girl: when Maria and Capt. Von Trapp look into each other's eyes after dancing from Sound of Music. There was one with I think Maureen O'Hara and I can't for the life of me remember the title. She's overlooking the sea as she stands at the front of the ship.

Re: Butterfly Effect Does anyone know what type of film or what was done in coloring for the flashback scenes? They seemed to look overly saturated and the colors seemed to bleed one into the other.

Re: INT. car shots - Just a quick thought, if you can't afford silks we once used white tissue paper. Depending on how you're setting up your shot and what will and what won't be in the shot...you can try putting some tissue paper on certain windows that aren't in frame. Add double or tripple ply as needed. Not only did we cut down some glare, but the white tissue paper also acted as a soft bounce to illuminate some darker areas within the vehicle. Don't know if this'll help. Happy shooting.

Just a bit of a testimony since this was mentioned: "Well.. there?s always the smaller screens I suppose." My husband and I had our doc. film shown on TV and while we were disappointed we couldn't get it on the big screen, we were still just as pleased and as it turned out a unexpected (and very welcomed) chain of events occurred. The film's subject matter was baby abandonment. We had a lot of opposition due to the nature of the intensity of the subject but we felt it was an important issue to bring to light. We had to beg and plead with several people and show them the benefits of them broadcasting it--it was aired. We even won a media award (EMA) Best Educational TV Program for it 5 months later after it aired. It opened many more doors for us career wise. Just thought I'd give some input to see if it would help or encourage. Remember to keep plugging away, you never know what will turn up. You may even want to see if you can pay for it to air on a local TV station or something like that. We paid a family channel to air it a second time. It did cost a bit, but we did any odd jobs we could from script supervising to moving furniture to raise the funds. Oh, just to mention, I had worked in marketing handing out flyers to promote a film. While I'm not a blonde, I am a red-head-lol. But it did work well as opposed to a young kid doing it. Funny thing when my husband did the same thing, he got less of a response than I did. Just thought you guys would find it interesting. ;)

Rik, cruz, thanks a bunch. Haven't seen Vera Drake, another we missed in the theaters, but will take a look at it on DVD. I didn't know there was an adapter for the Bolex for Zeiss lens-thanks. I see your point re: Bolex not being as good as Arri SR3 or an Aaton XTR-Prod. We noticed a bit of that image unsteadiness from time to time, we didn't know what that was from, (well, except for that one shot where our son tripped over the tripod-lol) now we do-thanks. You bring up a very good point about maybe needing to get location sound. We've always had bad experiences with sound. We are completely inept when it comes to getting good sound, barely passable as a scratch track. If we were to forego MOS and shoot location sound, would a DAT recorder work well? We've used the NAGRA before and it's just so clunky to take around on location. I'm going to look around this forum to see if there's any info re: sound. I'd appreciate some guidance or equipment recommendations in the sound area as well. Thank you both for your input, it's truly appreciated. Have a great weekend.

An addendum: We're also debating on the best film stock. 85 percent of the shoot is outdoors in mountainous terrain and the remainder inside a car. We've worked with Vision 500T in the past and were pleased with it is there better? We'd appreciate any input. Thanks.

I don't know any LA, but how about Vegas? 702-434-7051. Hope that helps.CamerasPro.com

Hi, my husband and I are about to make our second film. Our first one was a TV documentary film about the baby abandonment issue and it did quite well. We used a combination of 16mm (for dramatizations/visual inserts) and DVC-Pro (for the interviews only--but would have used all film if the budget permitted-we weren't happy with the video quality and will never use it again). We've used the Bolex H16 for years and used it for our doc. The images looked beautiful and was suitable for TV aspect ratio. For this production we know that we want to shoot S16 film MOS and ADR in post, with intentions of theatrical release. From our experience, distributors take you more seriously if your project is on film but ultimately we just love the results film renders. Two issues present themselves... Number One: We're having difficulties deciding if we should have our Bolex converted to Super16 or save the money and just rent another S16 film camera. We're just not sure which camera to use and then there's the lens issues--I don't think the Bolex can use Zeiss, etc. Number Two: The blow up factor. When blowing up S16 to fit theatrical ratios, what kind of results do you get? We didn't have the opportunity to see "13" or "Leaving Las Vegas" in theaters which we've heard were really good examples of S16 blown up. Any input/opinions would be great. Thank you.