Andrew E. Malecki

Thank you for the kind words Ryan. I wish I could show it you in person where I didn't compress it. The grain and aggressive look really comes out better on a monitor. Before I shot the film did tests with Kodak and Fuji film and you are absolutely right about the super wide exposure latitude. Fuji just didn't have the right feel and look I was going after. Since I am doing a DI I could even push the envelope more which I might do. I have to call some post houses tomorrow to get some quotes. I am looking at Duart right now since that is most convenient to me and I have worked with them before.

Thanks Bruce. The look was very important to me. I could never capture the same feeling with digital. For me personally digital gets to the point where it becomes so clean it feels sterile. It's just not the format artistically I want to work with. I choose film. Set in a movie theater, In Frame follows Paul, a theater employee who weaves his day through different fantasies about his co worker Anna. One of the direct influences on the story would be that of Billy Liar. In the end he has to make a choice. Does he continue living in this fantasy of his or does to take a step into reality and make a move. Being in movie theater is just an extension of the plot. We all go the movies to escape. Paul escapes into his own mind much like we escape into movies. In many ways the film is a love letter to film. I wanted the viewer to know they are watching film. So I purposely left in film artifacts in the cut, over exposed and under exposed key scenes, pushed the grain, used the tail ends of the reels to cut between certain scenes. Yes I recorded all sound including dialogue in post expect for one scene. The scene takes place in the projector room with the film projector running. So I just recorded it as normal with the camera noise and all. It fit perfectly and I didn't have to touch a thing. My shooting ratio was 2 to 1 at most. I would say for about 90% it was 1 to 1. I had the actors rehears through the scenes till they got it right. Being the independent film maker, I had to pay for everything out of pocket. So I used mainly recans and some sort ends to keep costs low. I shot the film as a feature length. I ended up with a 80 min cut of the film. But ultimately I felt like it just didn't work as a 80 min film. So I just gutted out the fat and stuck to the core theme of the film. Much like how Woody Allen cut all of the detective plot out of Annie Hall. Of course he had the luxury of not shooting it unlike me. Overall though I ended up with a 22 min cut that I am in love with. I love the lomo lenses. I wouldn't change a thing. The look it gave me was exactly what I wanted. My favorite is my fast 1.2 28mm. I used it for about 85% of film. I did a telecine for the film. Edited in final cut pro. I just finished my final cut so I started to enter in all the spring and summer festivals. If I get accepted to at least one I have two options. Either do a negative cut then DI of that or just DI what I need for my cut. The problem with the latter is that I think the cost of having the post production house go through my reels to find the scenes I used would end up being more then just doing a negative cut. If anybody has any suggestions or experience with this type of work flow please let me know. It's the one thing I'm still up in the air about.

Thank you so much Rich. I feel very strongly for 35mm. I have never really felt a connection with digital. And yes there is sound. For the trailer I just wanted it to be more of a teaser. I will say though recording all the dialogue in the studio was definitely a task. I feel it fits perfectly for the film though. It gives it the 60's foreign independent feel that I was trying to achieve.

I just finished editing my feature film "In Frame" Shot with a Konvas camera with all LOMO lens and using only natural lighting. I really wanted to capture a 70's independent look with a french new wave feel so I pushed the stock two stops. Camera: Konvas Lens: LOMO Film: Kodak Vision2 500T Trailer link: In Frame Site: http://inframefilm.com/ Production Site: http://philmreelfilms.com/ Any feedback would be greatly appreciated.

b/w film is always known for its sharpness. Thats the reason why I shoot b/w for super 8. The more sharpness the better unless you want a soft touch to the film.

Thank you for the words of caution. Its good to know that other filmmakers out there care and are helpful. I run a small production company Philmreel Productions. You can go to my website at http://philmreel.com/. I already have two other films in production. A 35mm feature film and an HD feature. I am serving as director on both films. I want start my super 8 feature in my spare time. After a 35mm and HD feature, super 8 will be an air of relief. I own a Beaulieu 5008ms camera. The gate will be modified as super duper super 8. It?s a b/w sci-fi film. As for film stock I am having trouble from deciding on either the Kodak tri-x or the kahl 27. I am going to be shooting in New York City. All I really need is the pressure plate. I want the film it to look beautifully gritty. I feel that the super duper super 8 with the pressure plate filmed in b/w would best achieve what I am after for. It will all be shot at night so I am going to push the stock by two stops. I use only existing lighting on my films. Also this is not going to cost anywhere near $10,000. I was able to shoot and edit my 35mm 80 min feature at under $10,000. I have sent aside about $1,000 for this super 8 project. It should clock in at about 80 min. Any help with the plate would be vastly appreciated.

I was looking into buying the metal pressure plate from Super 8 Pressure Plate from andecfilm in germany but they won't have any for about 2-3 weeks. I am planning in shooting my super 8 feature and need it sooner. Is there anybody looking to sell theirs? You can email me at malecki1138@yahoo.com. Thank you.

Hi, this fall I am about to shoot a 35mm short feature. The set is a low dim place with no florescent lighting. Just light from the windows and normal light bulbs of the place will be used. The last scene will take place at night on the street with just sight lamps lighting the way. I need to know which stock is best to used. Thank you for your help.