Kaspar Kamu
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Everything posted by Kaspar Kamu
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Dear all, I'm shooting a short film next month with an Arricam LT. Our number of mags are limited, so we will go with 1000' rolls. On the ST I've seen that the magazines can be mounted on top of the camera. My question is whether it's possible to do this with the LT as well. We need to do this, since many shots will be on a jib, and if the magazine is mounted to the rear, it will undoubtedly knock against the jib if we're in a steep low-angle. Alternatively (and this might be a question better suited to a gripping subforum) is there a way of extending the jib to avoid the aforementioned problem? ' Many thanks in advance!
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Questions about 35mm developing
Kaspar Kamu replied to Kaspar Kamu's topic in Film Stocks & Processing
Thanks for your help, Aapo! I think the quote we got from Focus Film is very reasonable for the two scans, so I think we're going to go with the option they laid out to us. The 2K scan to dpx itself (for a 7 minute film) costs over 700 €, so I can only imagine (and quiver) at the thought of what it would cost for the entire batch of raw footage. Is there anything else I should make the editor aware of when exporting the EDL? We're all very new to this kind of jazz and feeling a little bit anxious! Thanks for your very useful input, David! -
Questions about 35mm developing
Kaspar Kamu replied to Kaspar Kamu's topic in Film Stocks & Processing
Aapo, thanks a bunch for your reply! So; explaining it to myself as if i were a 5-year-old: 1. We send the lab our material, they develop it and scan it to 1K which they send back to us. 2. The editor locks an edit which we send to the lab. 3. From said edit, the lab scans the developed material to 2K based on the edit we sent them? Is this correct? Sorry, it's just that I'm a complete novice when it comes to shooting on film. And what do the abbreviations EDL and dpx stand for? Thanks again! -
Hello colleagues, I'm shooting my first film on 35mm in the of next month and I've been in contact with a lab in Stockholm about the developing and scanning. The quote they sent me, however, has left me a little puzzled - and instead of potentially making a fool out of myself with them I'll take my chances with you guys (ha). They want to charge me for 2 scans - 1k AND 2k. The lines in the quote are the following: Scan 1K onelight 35mm 4perf Scan 2k EDL to dpx Is it really necessary to have a total of two scans? Since skipping the 1K could potentially save us a substantial amount of money I'd just want to make sure. This particular lab is the only place left in Scandinavia for developing 35mm, so I doubt they're trying to rip me off. Thankful for any answers! Best, Kaspar
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Ah yes! Thanks for your advice Michael!
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Excuse my incompetence, but what do you mean by '07 and '03?
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And these films were then given a slightly warmer tone through photochemical processing?
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Thanks, David. The look that we're going for is still relatively high key, and I'm afraid that if we're rating our film at 320-400 we'd need more light to compensate - something that our budget doesn't allow. Also, we're shooting on location (café, ground floor) and it's at this moment unclear how many light sources we'll be able to place on the sidewalk without obstructing pedestrian traffic. Thanks for your advice! I'll look into the possibilities! I figured I'd rather be on the safe side, but I see your point. Coming from the digital era, I've never worked with such low ASA. Do you reckon bouncing an M18 on an ultrabounce through the window would be enough on, say, ASA 250 -- and then possibly pushing it one stop?
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David - thanks again for taking the time to reply to my novice questions! It's very much appreciated. It's an interior day shoot, so it won't be too dark. We'd still a like a fairly high-key look with a fair amount of tonality. So if we would simply change the colour temperature in the DI, would we still get good colour fidelity? Thanks for the advice on the LLD filter! Seems like a solid choice!
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Thanks for your reply, David! The reason I ask is also because I'm shooting a film on 35mm at the end of May and we're considering shooting on Kodak 500T, but we'll have to balance it to daylight which will make us lose a considerable amount of light -- taking our effective speed down to 320 or so. Our light budget isn't huge so I'm considering pushing the stock 2 stops to bring our ASA up to about 800 or so. Is this something you'd recommend or would the grain be much too much? I should also point out that this is my first film on 35mm and due to our very limited budget we can't really afford to run extensive camera tests beforehand! Best, Kaspar
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Happy Sunday, I recently watched Inherent Vice for the second time and was truly captivated by the cinematography. I loved the soft vintage look, the noticeable but fine grain in the midtones and the creamy lens flare. Does anyone know how this look was accomplished? I've managed to research my way to knowing that Robert Elswit used Panavision Primo spherical primes from the late 80s, but what accounts for the grain? Was the stock simply pushed a few stops to give it a look which matches period in which the film takes place? I've been searching and searching, but I've not managed to find any interviews with Elswit about the process. I also read somewhere that they used "old film stock found in someone's attic", although I haven't been able to confirm this. Any help or leads greatly appreciated! Best, Kaspar
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Filming black people in B&W
Kaspar Kamu replied to Kaspar Kamu's topic in Students, New Filmmakers, Film Schools and Programs
Thanks for your reply! I'm shooting digitally on a Canon 5d Mark III. It's day exterior with sunshine forecasted all day. I'm not after a specific look, really. Just a kind of slightly high contrast B&W look. -
Hello, I'm not sure if I'm posting my query in the right place, but I'll give it a shot. I'm shooting a short film tomorrow with a black protagonist. Fairly simple. The only issue is that the film will be shot in B&W. So my question is how do I make the finished product visually pleasing without risking to underexpose his face? I'm thinking about the possibility of shooting slightly overexposed and then raising the contrast in post. Would this work? Thanks in advance, Kaspar
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Oh, and probably worth pointing out that there are visible, frequent scratches along and slightly below the perf.
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Hello, So I recently followed the trend and got myself a K-3 and some film stock to practice with before starting to shoot. Anyway; after loading I'd run it at 24fps and the camera would jam after a few seconds, the "pressure plate" would slide down and I'd readjust it after which the camera would run again for a few seconds before jamming again. Last time I noticed that the film got stuck in the cog wheel and I had to pull it by force to get it out. The film would break and a fragment of film would get stuck in the wheel and I'd have to spend about 20 mins trying to get it out with a needle... What am I doing wrong? Any suggestions on how I can avoid this? I apologize if this has previously been asked, I couldn't find this specific problem in the forum. Thanks in advance, Kaspar