Matt Serrins

Did Technicolor quote you this price? Is there anyone else in the US who has a super 8 gate for Spirit? Just curious.

Thanks for your reply Mitch. I will check them out. Matt

Hi David, Thanks for your reply. I was thinking about going back to 16mm because of cost issues, but maybe I should just go to 35mm. I'll probably just take your advice and deal with the look digitally. Can you recommend any labs on the East Coast for this? Thanks again so much for your advice. Matt

Hi, I shot a short documentary (about 10 min) on mini-DV (24p), and I'm looking to go back to 16mm, which I realize is pretty expensive. I want to get a color reversal look (high contrast and deep saturated reds, yellows, and oranges). A lot of this has been accomplished with set design (the location where I shot has a 70s color scheme), but I'm wondering how to achieve this on the film print. I'm hesitant to do it in post with a plug-in like CineEffects, but maybe that's the best way to go? How would this be accomplished if I'm going Tape to film...transfer to neg and print on a high contrast stock...transfer to reversal and print on an ektachrome reversal print film (before they're discontinued). Is there a specific lab that specializes in this? Thanks for any advice you can provide. Matt

Hi, I'm a film student (undergrad), and I just finished shooting my thesis film. I go to school in Providence, but I'm looking for a good lab in New York or Boston to have my film (Vision2 500T) processed and telecined for a reasonable price, as my budget is already very stretched. I have about 1600ft. Any suggestions. Thanks, Matt Serrins

I'm shooting a scene in an old movie theater, where the characters will be watching a classic movie, and I'm wondering how to light it. My plan is to run the 35mm projector to fill the theater (it's cavernous) and use some video projectors and soft light to give flicker and accent. I'm going to composite in the scenes where the movie is actually shown due to budget constraints (i can't get a 35mm print of the film in the script and video projection is not a possibility in the location) Any other suggestions or tips for how to light this? Should I use a smoke machine to give the light coming out of the 35mm projector some depth and also give a sense of the space itself? Thanks for all your help. Matt Serrins

Thanks for all your responses and your help. To clarify my original post, the driving locations are suburban strip mall, suburban neighborhood, and interstate. I guess it's kind of a split between well lit city and pitch black country road, but these three will vary somewhat, with the more commercial locations having more light. In terms of look, it's not a noir, so I would rather it look good than 'real.' However, I think i'm going to be severely limited by what I can afford. In terms of money, budget, and access, unfortunately, I really can't do more than an inverter, some kinos, and a few 200w lights. I really wish I could do some of the more involved setups that have been described. Will I have to worry about windshield glare? Should I use a polarizer filter for that? I have also heard that cutting from a hood mount to hostess shot creates a perceived change in the speed the car is moving. Is this true? How do I compensate for this if so? Thanks again so much for all your help and any other suggestions you have. I will be shooting tests this weekend based on this advice and will keep you posted. Matt Serrins

Hi, I'm a film student and I'm shooting a short road movie, the majority of which takes place at night. I need some suggestions about how to light the interior of the car for night. The scenes only involve actors in the driver and passenger seats. I will be front towing and using a hood mount and hostess tray (which is all I can afford). The car is a Volvo station wagon (the back seats fold down), and I will be shooting on Vision2 500t (unless someone recommends otherwise). Thanks for any help or suggestions you can provide. Matt Serrins Matthew_Serrins@brown.edu