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Peter Gilabert

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About Peter Gilabert

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  • Occupation
    Director
  • Location
    San Diego
  • My Gear
    Canon 60D, CP-16R

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  1. Kept cold. Should be great, just put in on eBay.: http://ebay.us/krij4L?cmpnId=5338273189
  2. I have two unopened cans each containing 2 x 800 reels and one can containing 1 800 and one 700 reel which I snipped 100 from (in total darkness)to do this test: (the indoor shots) https://vimeo.com/199517069 I cant make guarantees but Ive kept all three in a freezer since I bought them, so Id think youd get some decent images, especially if you overexpose by two stops. Heres the cans:https://www.dropbox.com/s/rdnodooxfyibdhs/IMG_5631.JPG?dl=0 https://www.dropbox.com/s/jain6wdxgqqjple/IMG_5634.JPG?dl=0 Selling for .12 a foot here first before eBay- which comes to $564 - for 4700 ft of film, thats 129 min. of footage! Only all three, no individual cans PayPal is fine, I have a perfect eBay record and have bought and sold here too. Dont really want to ship overseas. These are on 800 foot spools so be aware you may need to spool down to get them in your magazines. Thanks! Cheers, Peter G.
  3. Oops forgot to post the subject title! Thats how out of it this film is making me yikes
  4. If anyones curious, last weekend we started filming this One-Location Feature Film, so I thought Id share a few dailies shots. Yes, we are shooting about 15 pages a day, three weekends so about 6 or so days! We actually hit our goal and got a third of the film done in two days so, knock on wood.. I went with my Canon 60D and Zoom h4n. We are working at breakneck speed but its mostly an actors film, hence thats what Im focusing on. I have a boom op, a recorder op/make-up artist and a friend helping with Craft Svcs. Im doing almost everything else, shooting mostly on my Tokina 11-16 set at 16mm. (Equivalent almost 26mm on full frame look) partly inspired by reading that Bottle Rocket was done on a 27mm and the fact that it helps the room look bigger and slightly bizarre. I know Im not in danger of winning any awards for cinematography, its very salt and pepper, but as mentioned before, its more about great performances, story and good sound. Hopefully itll at least be OK. Were shooting in a friends Gallery that will soon be torn down. He used to live in it so it luckily almost looks like a basement! We added some false walls and of course made a hole to simulate the bankrobbers wrong turn. Its all ungraded, no sync sound yet. This shot is the Opening pan POV of the would-be millennial robbers stumbling upon the retirement rock musicians basement lounge PASSWORD: GAYC1 Heres a shot of a would-be robber poking her head and discovering shes in the wrong place... PASSWORD: GAYC1. I want to zoom in in post, a la Kubrick. And heres a Hitchcock style snippet from when they get up and try to go back. Notice the slate op is in the shot, Ill have to crop that...;) PASSWORD: GAYC1 I hope this inspires, (and doesnt scare away!) others whore considering jumping into a feature. At some point I think ya gotta go for it. If I dont have a nervous breakdown, I may just get this in the can in the next two weeks....! Wish me luck? Or to break somethin? Peter
  5. To be more specific, those 6 days I have are three consecutive weekends, not one week. At least that gives me a little breathing room to tweak things I figure. If I have to, I think I can get another day out of everyone if needed. Im starting to think I should use the 60D cause I know it intimately, its mine and thats one less thing thatll slow me down. I really wont have time to screw around on the set when Im worrying about performances and capturing it the best way I can. However, Ill at least investigate the idea of using the bmpcc, I wont rule it out. If I can test and practice with it, Im sure its better overall. Thanks everyone, especially Phil.
  6. @Charles, Well, these characters arent exactly ex-stars, quite the opposite! ;) But that generation of performers, some are in their 80s, you know? Theres certainly a bit of suspension of disbelief involved to be sure! :)
  7. Thanks Phil and Daniel too! Good food for thought re: priorities with this type of pressured schedule. Trying to think of lighting one size-fits-most thing for most scenes. Ill experiment this month as much as I can first. Just want to make sure a potential distributor would even take me seriously, tech wise, assuming the actual content is great.
  8. @ Giacomo, yes agreed! What I mean is Im making sure I have GREAT sound and good lighting ;). Yes yes nothing worse than a low budget film with awful sound, thatll be my strong suit actually.
  9. Hi All, Im directing/producing a super low budget feature next month. First time in my life., here I So. Cal. One location, minimal cast. Im very happy with the script, cast and location, better than I ever dreamed. The question is, is my gear up to the task.? I planned to shoot on film, that option went out the window due to time and budget. Even if its an amazing story, great performances, etc., the idea that I might shoot it on my Canon 60d is a bit embarrassing. My Co-Producer has a bmpcc, (but not the new 4K one). Should we be using that?If so, guess I better ask now. All things being equal, assuming we/he use it to its full capability, will it give us a more professional/better look? I understand they have more dynamic range,etc. I think this film will live or die by the dialogue and performances, and Im not worried about sound (though I think lavs in addition to my boom will help against outside noises) or lighting too much, but I dont want to shortchange myself either. Heres the storyboard for those curious: 6 shooting Days, 14 pages or so a day, may have to go hand held a lot, building some false walls right now, will do table read, have a month to test stuff, its the back of an art gallery and its mine to use, has many elements already in place luckily. If I have my tunnel special effect worked out, I think I can stay on pace with the script. But, a 60d? Is that just plain not good enough, or?
  10. Some of you may enjoy an interview I did with Macks Fiiod recently about this film. I know hes interviewed others from this site, I hope to catch up on! Here it is: https://m.youtube.com/watch?v=Y0gTY7IV4QU&t=2s -Peter. https://igg.me/at/getallyoucanthefilm
  11. Hope its ok to mention this here (?) Just wanted to give the heads up on a project Im heading up, to be filmed in 16mm! Any support, sharing or words of encouragement are appreciated! https://igg.me/at/getallyoucanthefilm
  12. Macks, It just so happens that Im showing Citizen Kane in 16mm at my house on this Sunday, July 15at 7pm and I hereby invite YOU to ATTEND! Transportation to San Diego, CA not included. Its true, I have it on an inter-library loan from out-of-state and Im inviting some friends and curious neighbors, etc. So you should come watch and Ill proceed to browbeat you about why this film is so incredible! Actually Ive no idea why any filmmaker would not find this film to be wildly entertaining, funny, interestingly- told- and the thing I appreciate most about it is, although the directing is pretty flashy and the camera calls attention to itself quite a bit, the story always justifies the technique used. Whats not to like? (David, Id love to read that Toland article). Im surprised I havent been watching it every day Ive had it so far - to be honest. P.s. Anyone on here who can make it here is invited. :)
  13. 400 ft. Refrigerated. https://m.ebay.com/itm/Kodak-16mm-Vision-Film-7274-negative-color-film-stock-kept-refrigerated-400-ft-/232687391822 Thanks for looking.
  14. Ruben, Thanks for sharing your techniques for economically checking your ultra 16 cameras, very interesting. I did try scanning pro-developed color film earlier but I couldnt ever get my scanner to give me a good enough image, I sold the scanner later. I like the idea of cheaply developing B & W film snippets yourself just to spot check. I did end up getting an edge-to-edge scan of everything for that roll and- It highlighted my rough DIY conversion (which I could work around easily) but more importantly the vignetting caused by the 12-120 Angenieux. Its OK at 12mm, then vignettes from about 14mm to 30mm or so. I can work around this too albeit in a limited way or- just embrace 4:3 and/or not worry about it and crop any way I want. The only dilemma is that I have a lot of old Fuji Id like to use and cropping later may highlight the grain too much. Since Im trying to start a fairly ambitious project this year I realize I shouldnt probably be messing around with old stock and an iffy-reputed CP-16R camera anyway, but it all depends on what my budget ends up being I suppose!
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