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Peter Hadfield

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About Peter Hadfield

  • Rank
    New

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  • Occupation
    Cinematographer
  • Location
    Toronto, Canada

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  • Website URL
    http://peterhadfield.com/

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  1. Hi there, Looking to purchase a 35mm or s16mm camera with accessories in Canada. Based in Toronto, but willing to travel. I'd be very interested in a 435, 235, 416 or SR3, but willing to consider others. Thanks, Peter
  2. Hey Phil! Thanks for the response. I've hit my head against the wall with the Display Prep Demo for months. I even went as far as recruiting Charles Poynton's help (he's a digital image specialist in Toronto) to try and help me figure out what the hell Yedlin is doing. I took the Display Prep Demo and compared it with Alexa and film footage with a colourist friend in Toronto. We went through it, looking at the scopes and asking Charles his opinion. We came up with a bit of a special sauce that I've applied to a few projects, but I guess the film out is another tool I'm interested in adding to my box. I still don't know how Yedlin got results that good, but I do really like his argument over what the 'film look' actually is. Yeah, that clip from Grace of God just looks like Hi8. Not super nice...
  3. Hi David! Thanks for the response. Yeah, you've got it. I want to infuse the film grain into a digital file, and I've played with digital film stock grain quite a bit with some good results. The other reason I'm interested in doing a film out is to change the digital colour space to an analog one so that the highlights have nicer roll off, and I get the nice red and orange tones that film can produce. I shot under a lot of sodium vapour and fluorescent green street lights, and am curious to look at a vectorscope and see how much the colour space changes once a digital image is exposed to film. Ideally, I'm hoping to get those juicy reds and oranges and harsher greens.
  4. Hi Tyler! Thanks for the response. Where you printing to Kodak 2383 and doing a 2K or 4K scan of that?
  5. Hi all, Wondering if anyone has tried a 'film out'. What i mean by that is printing a locked edit to 16mm or 35mm, then rescanning that film to get a film look into the edit, then colouring from there. Any experience with that? I've been thinking trying that process with a music video I shot recently, and wondering if there are any lessons anyone has learned that they'd like to share. thanks Peter
  6. Hello all, Just wondering what people use to make floor plans. Until now, I've been using the good ol' notebook and coloured pens technique, but I'd like to start doing floor plans on my laptop so that I can have them clear, concise, and quickly shareable. Is there any software you use that you'd recommend? My plan is to have an ipad mini with floor plans, visual reference, shot lists, artemis pro, tech scout photos, script, sides, scene information and anything else I would find useful on set. Any insight on going down that path would be appreciated as well :) All the best, Peter
  7. Hi David, Thanks for responding! I thought I'd use an Antique Suede on 500T because it would get the white balance back to 'normal', but not quite to the same extent as an 85 filter. Done a bit of research on Antique Suede, and it seems like it isn't as dense as an 85, or I was thinking of trying a 1/4 to keep some blue in the image. I see what you're saying about the 81EF on the grey card. That sounds like a good move... Just colouring half the blue out of the picture. I'll be sitting in for the DI, so I could make sure the colourist keeps some of the blue tones in. I have seen a log scan of film. Very low contrast. I figured I could get the right amount of contrast in the DI, but I figured if I'm shooting film I might as well get some of the effects in camera. Looked up UltraCons. Very nice! I'll have to see if I can get a hold of one. Pulling a stop to get rid of grain Yeah, you're right about Godless. Looks like a lot of overcast skies and windows with diffusion on them... I think I'll pull a stop and time out the blue in the DI. I'll post when it's done for anyone that's curious.
  8. Hello all! I'm shooting a short on 16mm Kodak 500T Vision3 next month. I'm looking to get a cold look out of the film. Thinking blue hues in the shadows, while keeping low contrast in the image. Hoping for something along the lines of the look of the film Godless. Specifically inspired by the MSs of men at 01:33 and 00:33. I have interiors and exteriors, day and night. Planning on using natural light and LiteMat 4's for lighting, and Ultra Primes for glass. Planning on shooting regular 16mm to get the tall aspect ratio. I was thinking I would use an 81 filter to adjust the Tungsten stock for daylight scenes to keep some of the inherent blue from the tungsten stock. I was also toying with using an Antique Suede 1 filter for colour correction... but was wondering if anyone has any advice or would know how to get a look similar to Godless. Should I pull the film a stop? Any filters I could use I don't know about? Appreciate any comments! thank you Peter
  9. Hey there, Sounds like we're in a similar boat. I'm a young DP, have a decent reel, shot some projects and music videos that have gotten some press, represented by an agency, but I'm always trying to get more commercial work and get in with production companies. I just check in every so often with production companies I'd like to work with, talk about what I'm working on, comment on the work I've seen of theirs, etc. It usually leads to the phrase "We'll keep you in mind." It sounds like they have their roster of DPs that they work with, and I'm just waiting for a chance that one of their DPs will be busy and I can fill in. That being said, almost 100% of jobs I've ever got is because I know somebody or have some kind of rapport. I think the best thing to do is to just hang out with other people in film and get recommended.
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