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Karim D. Ghantous

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About Karim D. Ghantous

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    Melbourne, Australia
  • Specialties
    Photography (mainly portraiture and live theatre).

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  1. This music video was shot with Super Speeds on an A7SII: This video is not a good example because it's unevenly lit, but it seems to work okay, and I'm pretty sure the lenses only work stopped down a little.
  2. I recall an Italian director who said that he had no idea how a camera worked, and that it looked like surgery to him. I just forget the details. Was it Antonioni? Bertolucci? I can't recall I'm afraid.
  3. I am not in the business, so I don't know for sure, but based on my understanding of psychology, I don't think the reason is as nefarious as you point out. I think it's more simple than that: everyone is busy and they have little time for pleasantries. Life isn't fair, but it doesn't mean that people don't like you.
  4. Isn't it better and cheaper to just use a Glimmerglass or something? I mean, if productions are genuinely budget conscious, why are they spending so much in post? I wonder if a lot of producers actually know what they are doing. Clown world...
  5. Works for me! Although the compression took away the randomness of the grain. Robert, does your film recorder use lasers or something else?
  6. Your legacy could be to create a cocktail called the Matipo. "Served exclusively at the ASC clubhouse at first, the Matipo, created by Hollywood professional Simon Wyss, rapidly became mainstream, and is now served in the hottest bars and clubs all across the country. Part of its early success was the mistaken belief that it was named after the Brazilian municipality of the same name."
  7. Sean Baker shot The Florida Project on 35mm, but shot some night scenes with an Alexa. He did film-outs of all the digital footage and he really liked the result.
  8. I have stated several times that I am not. I will create a signature to remove any ambiguity. But I do know what a DP's job entails. I don't tell DPs how to shoot, or what to shoot, although I may offer opinions, especially if solicited. But I do know what the job means, just like any director, writer, actor, or producer would know.
  9. These days, though, it's a different story, is it not? Thanks to cameras like the Gemini, or the A7S III, you can pretty much shoot in any lighting situation. I'm probably missing something, though.
  10. You're a DP. You are supposed to care about the technical stuff. You don't have to prefer film to digital, though - that is your choice as a skilled technician. I like both, FWIW. But the debate never ends, because that debate is part of your job. If a producer asks you why you aren't shooting film (or why you are), do you tell him that "the debate is over" like Al Gore might say, or do you give him reasons?
  11. I doubt that. It's surely not that difficult. Although he's not the first do to it, he actually showed us how he did it. It does take time though, I accept that.
  12. Is that true, though? The way I see it, you only need to create a LUT once. The trick is, does the LUT fall apart at a certain point? Or is it all easy sailing? I don't see any discussion on this, if it's a thing to begin with.
  13. I haven't seen every single test that could be done, but I have seen a lot of comparisons. You just have to find them. I could virtue signal and say that you should not care about gear, but I won't, because that's a lie. If you're a DP, your whole job is to care about gear. The audience doesn't have to care, but you do. It's also a lie to say that every situation needs a different camera, because a good camera can be used for anything. There are small, local exceptions to this, however. I don't think I need to give you examples. Lenses are a whole different kettle of fish, thoug
  14. That is arguably the only thing that CineStill has done that has any real value. Why the hell anyone would shoot Vision3 without Remjet is beyond me. Vision3 per se is no more 'cinematic' than Lomochrome 800 or Portra. My goodness.
  15. I like your optimism! Usually I'm the guy who's like, "WE CAN DO IT." But here, I'm not holding my breath. 😉 As for the horizontal 16mm idea, I'm not a fan of a long horizontal movement. The magazines have to be wider, or you lose running time. I'm not a fan of VV either, FWIW. Just IMHO! I do want to see a 2-perf 16mm SLR camera. 110 will have to do for now though. Yes, it does. But, running time per foot for VV would be less than for 4-perf 46mm. And you have to deal with a horizontal transport. But, the VV negative is noticeably bigger. Pick your value point. Film sto
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