Oron Cohen

You should definitely bring sample footage for the new telecine operator to try and match. One potential problem: If the new transfers look even better than the originals, then you'll be tempted to re-transfer all the footage!

I talk with the colorist of the new lab and he also told me to bring sample footge for the new telecine.

and for the temptation of re-transfer all the footage, it will not be an issue because I dont have any money left for the project:-)

and if I get any more money it will go to the 35mm blow-up I had plan of doing :D

Hi,

 

It's obvious, finish at your local lab!

I shoot all over the world, I always process film a.s.a.p wherever I am.

 

Stephen

thanks for the quik reply stephen, I think I will do as you advise me:-)

On top of that Synchro Film is not exactly my favourite lab I must say. Had some problems with them on a film 2 summers ago.

its not my favourite lab also. I just think it was good if my negative will be kept in the same lab,but it is not worth the trouble.

Hello to all,

Just finish shooting some re-shoots to a film I directed.

The film shooting was in R16mm, SRII with super-speeds, 7205&7218 Kodak films stocks.

In the first shooting we shoot 12 rolls of film and developed it in synchro film in Austria, the reason for that was that we didn't have a film lab in Israel.

The telecine was one light, spirit to DigiBeta and MiniDv for editing.

Now 7 months later we do have a lab in Israel that have a spirit and all and I can process and get the same deal(spirit to DigiBeta)and also in the same price they would add some color correction if I need, plus I can be in the transfer and don?t need to ship my stuff in airplanes.

Overall I shoot in this weekend 6 rolls for my re-shoot (a little bit carried away).

So tell you the truth I am little bit confuse.

From one hand I know its not good to change labs, from the other hand it is very tempting plus I didn?t point out that it will take me less time to develop in my own country?

So what you advise me to do I tried to tell you all the detail, so please give me some feedbacks on this.

Oron.

hey olex,

I just was looking at ebay an see this camera : http://cgi.ebay.com/KINOR-16mm-Movie-Camer...tem130038426038

(dont know way the link is so long), and I see that you post a qustion in this sell:

"Hi I'm Olexandr Kalynychenko (you know not who Olex ).I modify of this motor on multi speed version for Chris Kelly from LA, CA. If your buyers will need addiitional devices 9 battery, charger ) yu can ask me. They can order of full service of camera at me too.".

my question is if this is the kinor-16 SX-2M that you talk about?(sorry for the ignorance)

I have to say I have learnd allot from your post on Russian cameras and its very intesting also because I am mostly use the arri cameras like the ST/BL/SR2.

so thanks you anyway!

"Le- bal" by ettore scola, is not new (not from the past 15 years but from 1983) but I think is very modern and a beautiful picture to watch :-)

"My architect"- by Nathaniel Kahn

I see this film a couple of days ago and I loved the cinematography very much, I spouse it was shot on 16mm&dv.

What I like about it the most is the balance of the cinematography, for me this is what makes good doco cinematography.

I can't explain this with words so much I think everyone needs to see this amazing film, maybe this is the sign of a good film: you can't explain what good about it; you just need to see it?

hi,

sorry about not notice this is 500T, how do you plan to use the light meter of the camera, I am sure there is no way the light meter of the r10 know that you are on 500asa film.

I think about that and its very hard to exsplain someone how to exspose right I figure you just have to try and learn by your self, I for sure would use a light meter and I try 2 or 3 diffrent exposures, one time go to the "over"(1 stop) one time to "under"(1 stop) and one time "correct", after this I would view the stuff I shoot and try to learn from my mistake this how I learn to measure light.

have a good shoot:-)

Hi,

to get the look of the picture I would measure the places around the tower or in the tower with the biggest amunt of light and then over expose them a stop. so if you have in your highlight F2.8 so expose f2.

the probelm is that I don't know if you have the light out there in 200asa, maybe you will see that the palce with the most light out there still read lower then F1.4, I cant know this based on the picture because I dosen't know in which asa settings or film it was taken.

genrley in the future I would suggest you if you plan on shooting night exterior so go for the 500T 7218, it will be safer for available light outdoor shooting because you will have more chance of getting a good f stop reading.

A year ago or so the Jerusalem cinematheque made 4 new 35mm copies of Tarkovskys films: "The Mirror ", "Andrei Rublev ", "stalker" and "Solaris".

This was the first time I got the opportunity to watch his work on the big screen after I watch all of his films on DVD (including his student film) and I tell you this was really something not from this world!

It is so different to see his film like he wanted us to see them!!

The film that most impress me was "Andrei Rublev" I have seen thousands of films and I try to see a film in the cinema (not just new films) every week, and this film was for me the best cinematic experience in my Life!

I watched 3 screenings of this film alone and if they were screening it tomorrow I would definitely go for another time, I think his film is pure 100% cinema and I envy his DOP'S (vadim yusov, georgi rerberg, giusppe lanci and sven nykvist) for getting the chance to work with such as good of a director.

I think that in the end if you really want good cinematography you need a world class director that have a great visual vision.

Hello Aaron

I shoot in the desert allot and you just need to think in logic.

You ask about put something on the camera, of curse you need to put something its 45-50 degrees Celsius!(I personally like to put a 4*4 duble or something on a grip stand to make some shade on the camera in all time and when I know that is going to be long period of time that the camera is not use, let say 20 minutes or more so I cover it)

But If I need to tell you an advice is to bring people to work with you that now how to live and work in such heat that are used to it, because you need to be foxed on the cinematography?

If you have some other questions ask and I try to help if you be specific..

I think what is making the look of this photo first of all is the art and costumes, and less the film stock.

I know that robby muller make the print of wim wenders "king of the roads"(1976)on orwo print film, they shoot the film its self on kodak b&w stock.

My feeling tends to be that once you are overexposing by a full stop, you probably should consider just using a slower-speed stock, unless it is a unique-look stock like Expression for which there is no slower speed version.

 

I think David is right, if you want less grain just go for a lower asa stock (7217), but it also gave me to think on another thing, why, why Kodak stopped producing the 7277(320T)? I recently do a blow-up from R16 to 35mm to a short film I shoot and the grain structure was very good, and the stock gave the film that was mainly in day interiors very beautiful look the night scenes shoot on 7218 and they intercut very good, grain wise also.

If someone gets the chance you can see this film in the Berlin film festival in two weeks time or so, the name of the film is "vika".

I think Kodak need to understand that there are filmmakers that don't have any money to do a DI.

And all the V2 films is very good films but look the same and that doesn?t give you so much creative choices to work with. In the V1 if I chosen the 7274 or 7277 or 7246 I was actually changing the look of the film and for poor filmmakers like me this is very impotent. I hope Kodak are going to make at least one more stock and it will be different from the normal stocks and have lower asa from the 7279 (expression).

well just so i don't have you confused, i wasn't intending to buy the 2 different lights, i had intended to buy 3 lights of 1 kind, i'm pretty sure the 250watt light isn't battery powered. I figured it would be the better source but a friend for some reason though the 100 watt ones were better for video, again we're new to this, i think he's crazy. hahaha Also, what exactly is diffusion (does this have to do with soft light?)? I know from reading that the typical lighting set up is 3 lights, one on each side, one being brighter(the key) and then one in the back, would it be best maybe to get one higher end like that's like 600 watts, and then get two 250 watt lights? do u think that'd be an appropriate setup for shooting at night in the woods. Keep in mind, most of our shots will be fairly tight, nothing huge. It's a simple horror story that we just want to try and do as good as we can and just use as a good learning experience :)

Hi Corey,

I think your way of working its not good, because what you need to find out first it?s what kind of a "look" you want the scene to have. If you don?t know how to describe what you want I advise you to do what I love to do: watch films. Not just films, find films that have similar set up (woods, night), and find out different lighting set ups, then describe what kind of light you are looking for, and people in the forum can help you.

Maybe you need only one big light source like an HMI 1.2, and it will cost you less to rent it for a few days, or it well maybe a Kino, I hope you get the point try to tell yourself and us what you want, there is no rules in cinematography! Remember that!

And one more thing, I think if you read Nestor almendros book it will help you allot because its learn you that it is not about back light and key light it's about the mood you are trying to achieve(it's help me allot at first),

Good luck anyway:)

(sorry about my bad English )

sounds like an interesting shot - mr. koukas is right in asking what stock you're shooting as this all would depend on such a decision. i'd reccomend maybe shooting 5218 or 5229 as they will handle the underexposure you're talking about well.

 

also - what are you thinking in terms of your going "up and down" on your HMI? you obviously can't dim them - are you thinking of just panning the unit on and off the subject or perhaps opening up on a flag or using louvres? if you want a dim up dim down effect it might behoove you to use all tungsten units and just use a 10k with a dimmer w/ full blue on it as your moonlight - eats more power, and remember your color temperature changes when you dim - but it might be a neat effect.

 

i like amber or straw gels for a magic hour effect, but its all a matter of personal preference.

 

sounds awesome though - happy shooting!

We thinking about using 7218 500T film, we are low on budget and we trying to find out how much light do we really need to do the sunset and the sunrise after all the size of the frame is medium close up, and we hope that a 2k frsnel or a 2K open face should do the job, what size of units do you think will be sufficient to make it look good. For the HMI we thought that we pull them up and down, down when the moon is going in and up when it?s out. Your 10K thought is interesting but not for our low budget limit.

Hope it will help to give us more good advise,

Thanks allot

Oron.

Oron,

very nice thought, what is the film stock that u are planning to use?

Do you want the shot to be done in one day, or u have cut-aways that can help you continue the next day?

 

Is the background the horizon that fades?Or just a sand hill?

Sorry for all this questions , I just feel that I need the details.

Dimitrios Koukas

the stock will probably be 7218 500T. we want to shot in one day. the backround will be big mountains(Judha mountains neer Jerusalem).

Hi evryone

We are planning to shoot a 20min short, in the movie there is a 1 minute one- shot of a man face in medium close-up in the desert. What we want to do as a starting point is to shoot in the "magic".

In the beginning of the shot we want to create the effect of sunset on the man face, and plan doing so with tungsten light the thing is we don?t know what size of light to use and if we need to add some gel to it?

after the sunset (the light tern-off), we want to try to make day- for night by changing the f-stop while we are still running and under exposes by 2 to 2 and a half stop and in the same time to open up a back-rim light moon light with maybe a 2.5K HMI , then we again start to pull down the HMI, and start to open up the F-stop and open up the tungsten light as if there is sunrise.

and now the real question is what you the professional thinking about our plan?

Hope for comments

Oron Cohen

you can buy super8 film in "SuperSens"- Oosterdokskade 5

1011 AD Amsterdam

you can look at their site: SuperSens.nl

also you have the "Super8 revesal lab" in Rotterdam- "super8.nl"

hope it will help:)

oron

thank you dom, NCSProducts.

the site that you gave me was very helpful, but it didnt solve completely my two questions.

1:what is the lens quality?

2: i didn't understand from the Manuel how can i load a from a 400ft can 100ft of film, do i simply cut it by hand inside a black bag and how do i put the film in camera, they didn't write were i put the camera, what they wrote was that you put the camera in a place without direct sunlight to me it seems weird.

if you ask your self from where all this questions come from, it come from the sad fact that in Israel there is no film culture , and there is no labs around. we develop and print in Europe, because of that i have small access to all the thing that to most of the world look obvious

if you can (everyone)comment on this it will help a lot, thanks again

oron(sorry for the bad English).

hello to you all, my name is Oron, and I'm a student in the "SAM Spiegel film school -Jerusalem", I wasn't familiar with the k3 until i read about it here at this site, most of the films i shoot i shoot on Arri-SR II, what i want to ask is if you can load 400ft mag in the k3, and if so how can i do it, i simply place the all camera(without the lens or its not important)into a black bag and load it, i hope someone will be kind enough explaining me how this camera work, and another thing how good is the lens quality compare a standard Arri zoom lens(like the Arri ST zoom lens)?

looking forward to see you in jerusalem the most beautiful city in the world(even though I was live near tel-aviv), watch out for films form our school in film festival, bye

oron