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Peter Gilabert

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Posts posted by Peter Gilabert


  1. Some of you may remember my post last year about shooting my first feature, which I did in 6 days this last March, called "Get All You Can" - a single -location extravaganza.

    It's just about done, and I'm entering into the festival pool now.  (The cinematography itself is nothing to brag about, but I'm mostly happy with it- and, well hell, I did it.)

    Here's the trailer if you're curious: 

     


  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. 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


  4. 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.

    • Upvote 1

  5. 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.


  6. 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?


  7. 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. :)


  8. 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!


  9.  

     

    OH MAN, sorry, I miss a really important matter. The d3300 can't move the LSD screen in the back (like the canons t3i) that's really bad!! Because some times you need to put the camera on the ground or in a high place and you need to see what's in the screen. For video that's a MUST, trust me. I'm sure that nikon has models with a flip LSD screen, in canon you can find the t5i and another ones too.

     

    If you really need the LSD screen, make sure youre in a safe place with good friends around you...

    • Downvote 1

  10.  

     

    OH MAN, sorry, I miss a really important matter. The d3300 can't move the LSD screen in the back (like the canons t3i) that's really bad!! Because some times you need to put the camera on the ground or in a high place and you need to see what's in the screen. For video that's a MUST, trust me. I'm sure that nikon has models with a flip LSD screen, in canon you can find the t5i and another ones too.

    • Downvote 1

  11. @Bailey,

    I understand, I had the same trepidation. It was stuck a little on mine, too. You can wedge something like a flat head screwdriver along the top edge and Gently free it.

    The plug is near the bottom and as long as you dont grab the whole door and yank it like crazy, youll be fine.

    Have you seen this 3 part YouTube video about this?

    Very helpful if you havent: https://m.youtube.com/watch?v=c-bP0NwX9-E

    Just follow what he says carefully and you can probably safely fix it if its a belt.

    I could probably use a spare belts kit from Whitehouse AV myself too but I dont feel like shelling out $107 for some pieces of teethed rubber, guess Id sooner buy someones broken or bricked CP-16 instead.

    Anyone has a broken CP-16 collecting dust, let me know! 😄 Cheers, PG

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