Kurt Cassidy-Gabhart

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

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

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!

A shot can be cut to incredibly short lengths in editing, even into the length of a single frame.

 

The real problem with any quick-cut montage sequence is mainly just the time to set-up a shot, which can be the same whether it runs long or short. Hitchcock made "Psycho" on a lower budget using his TV show crew, and yet he scheduled seven days to shoot that shower sequence, which is unheard of for a film with a limited budget (ultimately the production went nine days over schedule.)

 

So yes, the "trick" is simply getting enough set-ups completed to build the sequence in editing -- even on a smaller movie, a montage sequence will be given more time to shoot even though it might have a low page count.

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

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

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

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

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

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

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

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

Dear Cinematographers,

Thank you all for the assistance! You make this website the great place that it is!

Sincerely Grateful,

K. Cassidy-Gabhart

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

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

Gibarti,

What is the price?

Sincerely,

K. Cassidy-Gabhart

Dear Alexander,

Am I mistaken, or is this an incredibly good deal? If I had the money at hand, I would purchase it immediately.

Sincerely,

K. Cassidy-Gabhart

Dear Cinematographers,

I have tried splicing super 8 film many times but am nevertheless relatively new to it. Every time, to varying degrees, the presstape or cement splices exhibit a slight perturbation or glare; and so I am wondering, from the need to achieve a moderately professional splice, what is the best method for diminishing this effect?

Sincerely Grateful,

Kurt Cassidy-Gabhart

Dear David Mullen,

I would like an atmosphere attempting to recreate silent film cinematography, yet still maintaining, in some degree, a modern aspect - in other words, I want coarse and raw images - and so, from my uneducated mind, a "high-contrast effect with no shadow detail, and a lot of hot grainy highlights," if I am visualizing that description correctly, would be preferable. But perhaps I should just stay with something a little less extreme, and shoot at one-stop underexposure and one-stop push. Thank you for replying so quickly!

Sincerest Gratitude,

K. Cassidy-Gabhart

Dear Cinematographers,

For a silent short film on which I am working, I desire a grainy and dark texture. I am using Tri-X super 8 black and white film. I thought perhaps that, to my unguided reflection, it would be best achieved by underexposing two stops and then using a one-stop push in processing. Would any untoward complications arise in doing so? Would there be any superior alternative? Thank you in advance.

Sincerely,

K. Cassidy-Gabhart

Dear Mr. Dunn,

I regret sounding like an ignorant fool, but what exactly is a black screen mask and how would I best prepare one in projecting super 8? I really appreciate the information.

Sincerely Thankful,

Kurt Cassidy-Gabhart

Dear Mr. Dunn,

Is the frame not perfectly sharp then in larger format projection? It always seems so, but perhaps that is on account of the screen being, as you call it, filled in - am I correct in this presumption?

Sincerely,

K. Cassidy-Gabhart

Would that it were so simple!

Dear Cinematographers,

I was wondering if anyone could direct me to a website, or provide me with information of, film screenings in or near Indiana. I have developed an irreversible affinity for film projection, and delight at nothing more than seeing a picture the traditional, and therefore the proper, way, despite this inclination having developed at such a terrible time for the format. (And please - let's not turn this into an imagining debate, as so often happens.) I would thus be extremely appreciative of anyone providing me with information on local screenings.

With Warmest Regards,

Kurt Cassidy-Gabhart

I measured my future with a Surveyor's Staff,

And passed through it, as if through the mountains.

Dear Cinematographers,

The problem pertains to the Vivitar 733A super 8 film projector, which has been serviced, but has also been sitting in my closet without proper attention for several months. When I project a roll, and focus for the sharpness thereof, the projector's frame is out of focus - noticeably blurred around the border; - and when I focus for the projector's frame, the film is out of focus. Is the problem mechanical, thus requiring me to have it serviced again, or purchase a new one; or simply the result of my own ignorance? I would be sincerely grateful for any assistance in this matter.

Kindest Regards,

Kurt Cassidy-Gabhart

Would that it were so simple!