Nojus Drasutis

Guys, Thanks for your answers.

 

If the torches set your exposure at f4 with a 250 ASA stock you will need more Foot Candles than you can get bouncing a couple of M18 into a 12x frame at a distance. You might look into renting an Airstar Gaffair 4k HMI balloon.

 

A modified 7500W Honda EU6500is generator and 60A Full Power Transformer/Distro powering 4kw HMI and 8kw Tungsten AirStar Balloons at an IATSE Local 481 Balloon Seminar.

 

It will be a lot easier to fly than a large 12x frame bounce, give you better results, and can be powered off a Honda EU7000 or EU6500 as we did for the IA training workshop pictured here.

 

Guy Holt, Gaffer

ScreenLight & Grip

Lighting Rental & Sales in Boston

Sadly, I live in Lithuania. As far as I'm aware of, we have only 2x Gaffair 1.2kW in rental houses. I'd love to use this beast. Do you think few of 1.2 kW would be enough?

Skypanels

Yes, maybe, but they are quite a bit more expensive, aren't they?

Again, Thanks for everyone!

Maybe then it would be better to use some Fresnel HMI's like 2x Arri M18, spot them into 12x12 and bring the whole thing farther away?
I worked mainly with tungsten so I'm not sure how much output this would give.

Thanks

Hi, what's the best way to imitate a really soft moonlight with small budget. I'm able to have 2x5kW generator.

I don't need to cover a lot of space(3meters/10ft x 10meters/30ft), EXTERIOR, I need to use it as a fill just to get enough exposure for blacks.

I'm shooting on Kodak Vision 500 T, which has 250 ASA left.

The main light source will be a lot of fire torches - one for one actor. they give me enough exposure on the faces (f 4 - f2,8), so, as I said, I need the moonlight for filling and raising up the blacks.

I was recomended to use 4x Joker Bug 800 + Standart Lantern chmeras. I never used them. Do you think they would have enough output?

Thanks !

Hi,

Is this the same lens?

Thanks:)

Hi,

The Lomo Foton is a spherical lens, but there's a possibility of attaching Lomo Foton Anamorphic front (or rear) attachments and then it becomes anamorphic lens. They are quite expensive as you noted in your post. But if your price range is up to 4k USD, i think it is possible to find it on ebay (If you are patient enough).

Other option, as you mentioned, is to try adapting some anamorphic projection attachments, but:

The problem with most anamorphic projection attachments is that they are bad at covering wide angles and also you need to modify them somehow or use them with diopter and special housing (like FM lens module) to get one focus solution. But then the whole thing gets heavy and unstable.

There is few examples of Lomo FOTON in spherical setup:

Hi, I'm looking for Konvas Kodak core 35mm film adapter

Thanks

Another update:

Film lab checked and the camera is stable. So I suppose the problem is with the film scanning

N

Which one?

Hi,

yesterday on a shoot of mine Moviecam Sprinter dolly's chain was broken. Does somebody know witch type of chain is it and where to get it? Is it BMX type, or custom?

Thanks,

Nojus

Looks similar to Konvas mattebox.

(Sorry, It's not, my fault)

Hi, I'm looking for Tamron Adaptall to PL lens mount.

Europe

Yes! I wrote you a P.M.

Hi,

We are in the middle of production (with extremely tight budget) of our directors masters degrees work called "Adamah"

I'm looking for Kodak Vision 2 5205 or something similar to match our footage.

The stock can be: shortends, recans, outdated stock.

I need something like 600m/2000ft.

We are on really tight budget, so prefer affordable offers.

Our teaser (pardon for the bad color correction, this is just for refference)

https://vimeo.com/246951335

(we are in Lithuania, EU)

Or maybe someone has this stock just laying around and wants to get rid of it?

Anyway

Thanks for your attention,

Nojus

nojusdra.com

Just a quick update:

Yesterday we shot a registration test chart, as Mr. Mullen advised.

Monday I'll send it to film lab in Poland to check. But for now, I talked with one DP who also scanned something in our archival center and he said, that his footage was also unstable. He thought it was camera's fault but checked - and it appears that it's not. In his case that was 435 ES.

Film is a rare beast these days in Lithuania, so all cameras are not regularely in use.

Thanks

Hi,

Recently I needed to shoot something in reverse on Moviecam SL. I got the Super Speed Control and Moviecam Compact mag, Attached it, but, somehow, I cannot understand how to use it. I set the framerate to 24 fps, but both Moviecam and SSC module screens are flashing (MSP on camera and 5000 on SSC module)
Camera works fine without it.

Maybe someone knows how to use the SSC module? I haven't found any manuals

Thanks

Hi,

What comes in mind is Lomo Anamorphics (I think squarefronts have a bit more of breathing, If I am correct), but both square and round fronts have enough of breathing, distortion and other artsy things. Just keep in mind that usually 35mm differs from the set (50 and 75 are best for me)

And about spherical, I don't want to say anything stupid, but I remember that Canon K-35 macro zoom lens (t2.8) had a lot of breathing. and vignetting.

Hi guys,

Just checked the film today - I was told, there's a 2mm variation between frame line and perforation. I don't If I should trust our old soviet microscope with perf markings and GOST standart metering.

I was thinking to contact-print the film positive just for test purposes (30m) and project it in theater to check. What do you guys think?

BTW I don't know if it's off topic or not?

P.S. happy new year to all of you

You would think not... but what else causes an unstable image with a Moviecam? They're one of the most stable cameras made.

Right after the holidays I'll check the film manually with microscope whether the perforations an framelines allign to each other.

What did the camera sound like running? Was it loud at all?

 

If your pitch isn't adjusted, it can give you an unstable image like this, but it would make one heck of a racket. The SL is a pretty quiet camera, but you'd be able to hear it.

 

I'm still not sold on it being a scanner issue.

It was quite quiet but sometimes it had some slight variations in timbre.

 

I wonder if the place that did the scan, being an archive, did it with the registration pins disengaged?

I think it was with reg pins disengaged...

They scan a lot of old GOST standart perf. films from the times Lithuania was a part of soviet union.

What camera was this shot on?

Tyler, This was shot on Moviecam SL

Can you post a link to the video that shows the frame lines? for some reason the usual vimeo controls aren't appearing and I can't look at it large enough to see what's going on.

 

The color in the sky is definitely weird, and suggests that something wasn't set correctly in the scan, but it does seem like something you could work with in tools like Resolve. It should be easy enough to adjust the highlights to get that pink/magenta tint out of there.

Perry, I don't know, If I understood you right, but here's desqueezed version with actual framelines:

Anyway, I'm not so concerned about the color - As all of you have pointed - It's easy to fix it. I'm more concerned about frame stability, dynamic range, and digital noise, witch you can definitely notice in every shot. Should I ask them to rescan the footage?

if you want to try different options, I think there is still Arriscans at the MediaMonks in Stockholm (Stockholm Post Production, "STOPP" ) .

And Dirk Dejonghe does 3k scans with custom built pin reg scanner in Belgium.

There is even possibilities for high quality telecine or scan here in Finland (Reel One has a Millenium2 which is capable of 4k transfers if using external recorder, the standard setup is 444 hd prores. There is one Spirit HD telecine, I think at YLE, with very good operator. And the National Film Archive, KAVI, has a 4K Scanity which is setup for dpx workflow and the operators are used to handle damaged material if needed. )

 

Michael mentioned the Cinelab option, and there should be some options in UK and France I think.

And the USA option as well if shipping is not a problem.

 

Europe may be a bit expensive but you just need to ask around.

I don't know about Poland, is there any good labs there which have proper telecine/scanning options?

 

 

I just wrote an email to a lab I sent my film to be developed, It's in Warsaw, Poland. They have some kind of telecine, I'll report when I'll have the answer myself

Thanks guys!

Honestly, it doesn't look like there is any problem in the scan, though the grading definitely needs help. (bear in mind that it's hard to check some things on a Vimeo or YouTube link, but overall it looks like a pretty good start).

 

Do you know what kind of scanner they used? Can you post some of the footage pre-stabilization? if it was scanned so that you can see the perfs, or even some of the perfs, that's even better because it can help to diagnose any problems.

 

Optical pin registration is as accurate, if not more accurate, as a mechanical pin. Some scanners might require manual calibration, but machines like our Lasergraphics scanner do not - there's nothing to do but turn registration on or off, and it's dead accurate. We've run hundreds of millions of frames of film through our scanner and unless there are a lot of broken perfs, damaged film or other unusual issues, registration is typically rock solid.

 

If you want a quote on a scan, PM me - though shipping 35mm film to the US may be prohibitively expensive from/to Lithuania.

They used ARRISCAN 3K. It's impossible to see the perfs

here's an example of pre-stabilized footage:

(shot with 1.33 GG, open gate, so there's a bit of mattebox in the left side.)

https://vimeo.com/247056298

As far as I know, They scan it on auto mode, and do not change any properties

Is it worth doing a Telecine in Poland with professionals, would it be an better (dynamic range, noise)? we can't afford D.I. abroad.

BTW, frames were unstable, looked like they were shot on camera with no registration pins (even tho the camera itself is stable) Is it possible that they misaligned the registration pins in D.I. process? I stabilized the footage in post.

sorry for my strange explanation I don't know exact words in English for that

thanks

Hello,

It's my first project on 35mm film, and I'm not really sure how to handle the D.I. process correctly.

We have only one D.I. machine in Lithuania - And it's in our Archival Center, bought using european funds.

The thing is that people working with machine are not capable of handling this task (It's not just my opinion, lot of DOPs are complaining about it). You cannot sit and watch when they do the scan because "they have a lot of work" I did a scan for fist two days of our short films reels for teaser, and result turned out to be a bit strange, as you can see here:

https://vimeo.com/246951335

keep in mind that I shot on 10 year old Kodak Vision 2 5205 250D film stock. Exposed it at 50ASA and pushed 1 stop, as advised by lab in Poland where i sent the film for a test.

Because I'm new to D.I., I cannot say if it's really crappy, or it's o.k. for old film stock? I had a really big problem in that one shot, because it was a bit unexposed in camera, But the blacks are just all over with noise.

Also, the sky is blown out, I thought that film handles whites better (when I metered it, it was in range, I think)

I'd like to hear any opinions and advice.

Thanks

nojusdra.com