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Kurt Cassidy-Gabhart

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    Jasper, Indiana
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  1. I am eternally grateful for all your help! Thanks!

  2. Dear Cinematographers, It can be seen in the films of Takeshi Kitano and Kiyoshi Kurosawa, among many others. Hausu, Ran, violent Cop, Hana-Bi, Cure - even Charisma, Ju-On, Ringu, and Pulse (Kairo) - and many others all have the same, distinctly Japanese '80s, '90s aesthetic - and not simply on account of the costumes and set decoration. It is a late night TV special kind of look, with faded tones. Other than that meager description, I cannot further elaborate - the aesthetic is too subtle. Therefore I must ask you who are greatly more experienced than I - was it by means of the cameras, lenses, and filters, or was it primarily the film? I would sincerely like to know for a feature on which I am presently working. Sincerely Grateful, Kurt Cassidy-Gabhart
  3. Dear Cinematographers, Was intending to shoot film and lens tests with a super 16 Krasnogorsk-3, in preparation for a project done on an Aaton XTR PROD. Now is there any way that I might use the M42 mount lenses for the Krasnogorsk (namely, Zenitar 16/2.8; Pentax Super-Takumar 50/1.4; &c.), later on for the Aaton? Do they have M42 to Aaton adapters? Someone else posed this question awhile ago, but they never received any clear answers. Sincerely Grateful, Kurt Cassidy-Gabhart
  4. David Mullen ASC, Well my God, it is an honor to have a professional cinematographer reply to one of my topics. Thank you for all the information, and for succinctly answering my question!
  5. Dear Cinematographers, Just wondering about takes of peculiar brevity—how are they done in production? Those in the films of Christopher Nolan, say, or the shower scene in Psycho (sixty-three shots for about three minutes), that last less than a second and never recur—does this sort of thing require an enormous amount of labor and precision, or is there just some trick to it? Moreover, how does one go about shooting sixty-three shots for a three minute long scene? If it is done as I image, the amount of effort and precision would be positively daunting! Sincerely Grateful, Kurt Cassidy-Gabhart
  6. Dear Cinematographers, Been carrying around two 100 ft. rolls of 16mm 500T film for the last year. It has been in a 10˚-20˚ cooler for six months. Someone told me freezing negative film would cause the remjet to stick, so I then refrigerated it in about 40˚ for six months. Now that I am ready to shoot it, the question presents itself: How am I to expose it in order to compensate for the yearlong stagnation? That is, if it not already too late. Sincerely Grateful, Kurt Cassidy-Gabhart
  7. Dear Cinematographers, Testing out Krasnogorsk-3. I need dummy stock in order to practice loading it, therefore does anyone know where I can acquire some? Sincerely Grateful, Kurt Cassidy-Gabhart
  8. Dear Mr. Montgomery, I was just going to use Cinelab. I have worked with them before and they were extremely diligent. I reckon that ellipsis is unnecessary, moreover, considering these places will be around for as long as film archivablity is found necessary; and not even to consider the film renaissance - which will come about, as with the cultural movement, just as everyone realizes how downright shitty everything has gotten - and I think that that will be not five years hence. Go Broke, Shoot Film, Kurt Cassidy-Gabhart
  9. Dear Mr. Mullen, A.S.C., I was, indeed, only planning on projecting prints. For I cannot help but find any digital intermediacy distasteful. I do not wholly understand the process of timing, but are there not means in it of achieving high saturation and contrast? Thank you for the help! Again I cannot thank all of you enough for the prompt and educational replies; such a complex subject as cinematography is a forest not to be traversed alone. Sincerely Grateful, K. Cassidy-Gabhart
  10. Dear Mr. Suleimanagich and Mr. Burke, Thank both of you for the assistance! I just ordered two rolls of the 7219, Mr. Suleimanagich. I cannot thank you enough for telling me about Cinestill. I had always wanted to do some still tests but could not find the film for it, assuming that it just didn't exist. Do you think it is possible to achieve highly saturated colors, specifically the reds and blues, by analog means, despite having the 7219 pushed a stop or two? If you could continue helping me with this, I would appreciate it enormously! Sincerely Grateful, Kurt Cassidy-Gabhart
  11. Dear Cinematographers I just shot a roll of Fuji 1600 Natura film and was exceedingly pleased with the texture and color-contrast. The muted colors were prominently mute and the bright colors prominently bright; and on account of this and the high granularity the photographs almost resembled watercolor pictures. And so my question is - is there any way to replicate this effect on modern motion-picture stock, especially 16mm stock? Sincerely Grateful, Kurt Cassidy-Gabhart
  12. Dear Cinematographers, I realize this is perhaps the wrong place to ask this, but I do not have an IMDB account. Does anyone know if Wes Anderson was in south Boston this last weekend? I ask, because this man who resembled him in every way - and I have seen my fair share of Wes Anderson pictures and interviews - appeared several times in the lobby of the hotel in which I was staying, and it was by no means below his standard - the place was rather swanky. I realize it is highly unlikely, and that innumerable people probably resemble him very closely, but there can be no harm in asking. Take Care, Kurt Cassidy-Gabhart
  13. Dear Cinematographers, Thank you all for the assistance! You make this website the great place that it is! Sincerely Grateful, K. Cassidy-Gabhart
  14. Dear Cinematographers, Thank you all for the educational replies; you have saved me from a lot stress! Who could provide such services, Mr. Houllahan? Which laboratory, Mr. DiPietra? Mr. Wyss - if only I had access to your facility! That would be a dream - you are very fortunate! As for that, Mr. Dunn - I am quite used to it; I do not mind the size of the wall, but rather whether or not I can climb over it. Sincerely Grateful, Kurt Cassidy-Gabhart
  15. Dear Cinematographers, Is there any way to get a magnetic film transfer of recording tape for unadulterated analog editing? I am markedly influenced by analog processes in art; all this digital nonsense has never sat well with me - it is all as cold as a witch's - - however that goes. Another, more general question, I suppose, is whether or not it is even possible for one to create a purely analog picture any longer. Sincerely Grateful, Kurt Cassidy-Gabhart
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