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Adam Guzik

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About Adam Guzik

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  • Location
    Pottsville, Pennsylvania
  • My Gear
    Canon T4i w/ 18-55mm and 55-250mm lenses

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  1. Film has been SOLD. Thanks so much for looking, everyone. Best, Adam
  2. I sent the payment. If there are any other charges, let me know so I can pay those. Thanks again

  3. Hey, folks! Deciding to part ways with these 2 rolls of 16mm 500T stock. I bought these back in 2014 during my freshman year of college. These cans have never been opened, but they haven't been stored optimally either - they've been stored at room temperature for the last 6 years, and I don't know how long the person I bought them from had them before me, so they are almost certainly expired by this point. Selling these both for $275 USD. Shipping's included. This will be shipping from Pottsville, Pennsylvania, USA, zip code 17901. Thanks a ton, folks! Best,
  4. Hey, folks! Got 2 reels to show ya: First up is my Director/DP/Colorist Reel: And then, we have my Composer Reel! The music for my filmmaker showreel is made by me, too! Thanks so much for checking these out, guys! Best, Adam
  5. Thank you so much! I definitely think I could've gone warmer on some of the shots, but the fall colors were so vibrant, even on such an overcast, rainy day, that it would very quickly become too warm. Glad you liked the ungraded version, too! Yeah, after this test shoot, this camera isn't perfect - the lens vignettes a little at the widest angle, but, it's honestly not as bad as I feared. The Krasnogorsk only takes 100ft daylight spools, though; it's not like the Bolex, which has a removable top so you can use 400ft magazines. And yeah, the winds only last about 28 seconds e
  6. Hello again, folks! Been a while! I finally got the chance to shoot some film again! About 2 weeks ago, I was able to take out my (relatively recently) purchased super 16 modified Krasnogorsk-3 with the standard Zenit Meteor 17-69 f/1.9 lens out on a train ride to Jim Thorpe, Pennsylvania, where their annual Fall Foliage Festival was taking place. I shot a single 100ft daylight reel of Kodak's Vision3 500T 7219 stock, but this time, I shot without any filters and metered for ISO 200, overexposing quite a bit to see how that would turn out. Being my first time shooting on this c
  7. Hey, folks! Just as a forewarning: This doesn't really pertain to any specific camera, but rather, what I would love to see in a future, modern super 16 camera, features wise, tech-wise, etc. Personally, I'm torn between the super 8 and super 16 formats. I love shooting on Kodak's modern Vision3 stocks - they're just a joy to color grade, and super 16 is not anywhere near as grainy as I thought it would be. That said, modern super 8 ain't no slouch either, and the ease of use - especially in regards to loading and unloading - is seriously appealing. I keep thinking how awes
  8. Hey, thanks for replying to this thread! I got my film scanned 1080p on Colorlab's LaserGraphics ScanStation at ProRes 444. It was an overscan, so the final delivered video wasn't exactly true 1080p, but the scan was so sharp that it barely made a difference. For the delivery file, I first delivered in ProRes 444, and then converted to a super high-fidelity H.264 .mov via HandBrake. As for lenses, my school had already given out their prime lens set for their other Aaton, so I was given the Canon 8-64 Super 16mm zoom lens. It's a very awesome lens, though I had to be careful using it w
  9. Hey Kenny! Thanks for commenting! So, the great thing about getting film scanned log is that the files you get back, whether it's DPX or flat-pass ProRes 444, 422, etc., are literally Cineon Log images. Since they are Cineon Log files, you can then directly apply a Kodak 2383 Film Print Emulation Lut. This is what I did. Resolve comes with a 2383 lut in 3 different white points - D65, D60, and D55 - for both Rec.709 and P3 target color spaces. For the above graded version, I used the P3 Luts, but I would actually recommend you use the Rec.709 versions. Just more efficient LUTs to use fo
  10. Thanks so much! This is my second time shooting film. I first shot motion film 3.5 years ago for my freshman film class; back then, it was black and white Kodak Tri-X 16mm reversal film. I had a really great time then, too. This was my first time shooting color film, and the Aaton XTR Prod was a much bigger camera - really heavy when you shoulder rig it for hours at a time, which I did the day I did my shooting - but I'd love to get one after I graduate, both to have such a really rugged, rock-steady super 16mm camera and for it's ability to shoot 23.976 fps.
  11. Hello, again! A big thanks to everyone who took the time to reply to this thread, especially Michael Rodin; his post with the DPX file convinced me to have my film scanned raw. Anyways, everything's been finished; I shot back over Thanksgiving, got my film processed and scanned, edited, colored, and put up on Vimeo! I've made graded and ungraded versions for you all to see! So, basically, from shooting and getting a RAW scan of my film, I've come to the conclusion that film is kind of just as ugly as raw digital footage straight out of camera, but color grading is where film reall
  12. Hello, all you lovely folks! This is my first post here in this forum, so, quick introduction: I'm Adam; I'm a senior Cinema & Photo student at Ithaca College, going to graduate in May. So, in the next couple of weeks, I'm going to be utilizing one of my school's Aaton XTR Prods and shooting 2 rolls of 400 ft. Kodak Vision3 500T. It's not really for a project or student film - it's just going to be me mucking about with the camera and emulsion. It's going to be a test shoot of sorts, really. It's the Processing and Scanning part of the whole process that I need some help w
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