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Pete Raynell

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About Pete Raynell

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  • Occupation
    Cinematographer
  • Location
    New Zealand
  1. Hi will, Thanks for sharing, I would be very interested in having a play with some of these looks if you're able to share? Pete.
  2. Hi all, I’ve had a lot of experience shooting digitally, primarily with Alexa and Red and have developed a large knowledge of this format and the nuances of digital cinematography over time. Though I like the many attributes of film I have actually never shot on it besides the odd 35mm and 120mm stills when I was younger. I started shooting digitally at a time when film was no longer viable as an option where I live. However It seems that there is bit of a return to film and availability of stock where I live again, and I’m getting interested in shooting on it myself. Though the thought of doing so is a little scary to me having never done so before! I have access to an Arri 435 or Panavision XL2 cameras, though not limited to these body’s I was considering shooting on one of them, I was also thinking of shooting on super 16 to cut my teeth. For the sake of the argument let’s assume I want to shoot on Kodak 500T 5219 in studio. I do have a firm understanding of the different properties attributed to different stocks in terms of colour and grain, and how pushing and pulling can effect this. I also understand how to handle and store the film as well. But I do have a few questions (I’m sure some are pretty dumb! So bare with me) Exposing the film: I’ve found myself using my light meter less and less and exposing off my properly calibrated monitor also utilizing false colour when shooting digitally. - Is this any sort of a guide to work off with the video tap on newer 35mm film cameras? Or should I solely really on my meter to expose? - To check my lighting and exposure one thought was to have my digital stills camera handy on set, is this a common practice? - How forgiving is modern film stock compared to say Alexa raw files? - As mentioned, when working with digital I really rely on my monitor to say slightly under expose certain parts of the image on purpose, is this something you can usually get a rough guide of off the video spilt? I imagine the split be treated as a framing guide only, (this is probably one of those dumb questions) Developing and Scanning: - Once the film is exposed, am I correct that the needs to be processed in a lab to create the developed negative, then the negative needs to be scanned to a positive in the form of a digital file for post etc? If so, - Where do certain effects get applied if required? I’m assuming if I have exposed under or over on purpose in order to push or pull the stock, then this gets done in the lab developing process? And other changes that I would be used to doing in a normal digital grade get done once a digital scan is created? - Are there any other things you might suggest to someone with advanced knowledge of digital cinematography that would be helpful for their first time shooting with film? Thanks, Pete.
  3. Thanks David, this is very helpful, I have a set of HBM filters and was thinking of purchasing the 1/8 black pro mist for exactly the same reason as your last post, this answers my question perfectly! Pete.
  4. I'm trying to find a comparison of these two filters or at least understand the attribute's of both to compare? I'm assuming they are very similar, accept the black pro mist will change the overall contrast of a scene more than the HBM, especially if changing strengths. For the sake of the argument though I'm only interested in the difference between an 1/8 black pro mist and 1/8 Hollywood black magic. Pete.
  5. Thank you, I don't believe open gate will work as we need to deliver in ProRes, though the Arri frame composer tool does show an open gate pro res option for Open Gate 4:3 2.8K in ProRes. I thought open gate was only applicable to Arri Raw recording? or is this something new? We also need to be able to output the desquezed image from camera to monitor, so not sure of this will be an option using those methods. I now have the option of shooting with the SXT instead of the Mini , what seems like a better option is to shoot in the 6:5 4K Cine Anamorphic 2.0x mode available on the SXT that gives me a 4096 x 1716 image that I can crop the sides off for 16:9 with some wriggle room. I understand the camera is up sampling but it's not an issue for this job.
  6. I have a studio job coming up that I would love a second opinion on. The brief involves a young actor made up as an old man, walking through a white studio space past various props delivering lines. As the spot progresses his appearance changes at certain points and he starts to appear younger (eg: he starts the spot bald , removes his shirt over his head whilst walking to reveal his hair has grown back, and another gag where he wipes his hand in front of his face and his skin is less wrinkled) This spot all needs to appear as one continuous tracking shot and the ageing transitions to be fast and seamless. The way I am currently approaching it is to use a motion control robot on a 40ft track to do the camera move, and also have a video split operator on hand doing overlay work to line our actor up. The obvious variable in this situation is that the actor will never land in exactly the same spot on every take. So I have suggested we use the video split to get this as close as possible. Then request a VFX team in post do some Morph work with something like the RE:Flex Morph plugin for After Effects to avoid just trying to use something like a cross dissolve that may produce ghosting as the images overlay. An example of this morph plugin is can be seen here: https://www.youtube.com/watch?v=IrySJ4dJwBc Has anybody here had experience with this sort of thing before? Am I going down the right path? Would love a second opinion for the reassurance with this one! Cheers, Pete,
  7. I am shooting a spot shortly on Alexa Mini that we need to deliver in 16:9 prores 25fps. However I want to shoot with x2 Anamorphic lenses as the director has requested anamorphic flares. From what I am reading the best way to achieve this for the highest possible resolution is to use the following setting in the mini - "ProRes 16:9 HD Ana (for situations where the look of anamorphic lenses is desired but the end product is full 16:9 HD without letterboxing)" Am I correct here? Or is there another way to do this to achieve higher resolution that 1080 x 1920 by extracting in post from a different anamorphic mode? (from what I've researched I would only gain horizontal resolution and loose vertical if I did this) Just want a second opinion in case I'm missing something... HD should be fine but I would like a little more resolution where ever I can get it as there is the possibility of some slight post reframing work on this job for match cuts. Cheers, Pete.
  8. It's quite a subtle effect, but you can see an example here shot at 23fps, where the fish lands in the boat, it's been used mainly for comedic purposes. https://www.youtube.com/watch?v=Yu2u2cTO33E We have done some camera tests today and in camera looks more natural than speeding up in post, I can't really say why.. it just does, so I think ill stick with the in camera plan, the advantage obviously of speeding up later is the 25fps option is there in post if required. In terms of keeping my exposure consistent switching between 23 and 25fps I think ill just adjust the iris slightly.
  9. Yes I made this point to him as I know it's a feature that can be turned on and off in premier pro. But he seemed to think it was not the case.
  10. Hi all, I have a shoot coming up and was having a discussion with the director today who asked if we could shoot under cranked for a few scenes at 23fps for a 25fps delivery. I suggested shooting at 25fps and then speeding up in post as he could make the decision then and still have the 25fps option if he wished. He said he would rather do it in camera as the post option tended to cause what he called "frame blending" I'm happy to shoot under cranked in camera (Alexa SXT), but I started to wonder about his comment.. I can not see any reason why adding the speed change in post would cause any problems as you are just removing some progressive frames? Am I incorrect in thinking this? Cheers, Pete.
  11. I'm moving house and in the market for a new TV... OLED, LCD, Plasma, Ultra HD, Full HD, HD , the options and brands seem overwhelming! So I thought what better place to ask than here what most of you guys have in your home to get and idea of what to look into. Thanks in advance! Pete
  12. Thanks for the info Matthew, I can't really see any reason to use the "Manual" or "Auto Manual" settings then if "Auto scan" does all the work. The only situation I can think of is if perhaps flicker is present at high frame rates such as 1000fps in auto scan mode, then maybe you would use the manual feature to try and find a sweet spot and eliminate it? Even then I would assume this would be a very experimental process. I'm still curious as to just how many FPS you can shoot with these new ballasts past 1000?
  13. Hi there, I have recently purchased some new Arri lamps with the new high speed ballasts, I'm interested if anyone can offer a little more insight into the high speed scan function, specifically the "Auto manual" and "Manual scan" settings. When would you use these over Auto scan? And what is the difference between Auto Manual and Manual? Also, I have not used these lamps recording over more than 500 fps yet, however Arri state they can be used up to 1000 fps and beyond.. Does anyone have any experience using these over 1000fps and how far is "Beyond"? For those interested this is the only information Arri seem to provide - The EB HS high speed ballast, allow HMI discharge lamps to be used for high speed recording up to 1,000 fps and beyond. As the first ballast of its kind, the EB HS offer a new AutoScan feature that ensures optimum light and image quality with a minimum of effort. ARRI is now offering this popular AutoScan mode in the 9,000 W class with its new EB 6/9 HS AutoScan ballast. Users can select between fully automatic operations (AutoScan) and manual frequency control (Man), or combine manual frequency setting with automatic monitoring and adjustment (AutoMan). Using the AutoScan mode requires no further interaction by an operator. After a two-stage scan the lamp frequency is selected and set by the ballast; all parameters are continuously monitored and adjusted automatically if required. Thanks, Pete.
  14. Reading up a little it seems that adjusting the screens brightness may have been a solution as it affects the on/off rate of the PWM LED that causes the flicker. http://www.flatpanelshd.com/focus.php?subaction=showfull&id=1362457985 This would explain why another shot (an ECU of a smart phone) presented similar problems but when the phones screen brightness was turned up to 100% the flicker was no longer present. Pete.
  15. Many years ago I remember working with a DP who gave the best boy on set a great book that was solely on the art of lighting faces. I have been searching the web to see if I can find this book or one similar to share with some of the technicians I work with. Though I have not had much luck. Does anyone have any recommendations? Pete.
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