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Zachariah C. Bensel

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Everything posted by Zachariah C. Bensel

  1. Zachariah C. Bensel
    Thanks for the clarification.
  2. Zachariah C. Bensel
    I had no idea a scene to scene was that time efficient! Really good to know. That’s .32/ft for a scene to scene grade on top of the .16/ft processing and .40/ft for the scan itself. Let me just put down my production numbers so you get an idea of what I’m working with At .88 per foot for (assuming adding in scene by scene) I would be looking at around $2,000 for processing and scan of 2000ft (roughly 50min (6 Minute short, 6 to 1 ratio, plus short ends and slates). Add on another $1,000 for the stock itself. $225 per day for Arri SR2 & Shoulder mount kit via Cinequipt Minneapolis x 3 day shoot= $675. Basic sound kit also via Cinequipt Minneapolis = $330 for 3 days. TLS Super Baltar 20mm from LensWorks $150 per day = $450. Four speaking parts in the short @ SAG minimum rate for days used = $975. Locations and permits $750. All comes out to $6,180. Leaves just under $200 for “oh poop” money. I was under the assumption a scene to scene would be slower than that. I just might be able to squeeze a scene to scene grade in.
  3. Zachariah C. Bensel
    Scene to scene grading would be great, but out of my budget. I’m only working with about $7,000 total budget, and the $200 an hour to scene to scene grade would not be feasible for me. I’m assuming it’s $200 per labor hour not per hour of footage, right?
  4. Zachariah C. Bensel
    Im getting more of feeling that Im just going to shoot my footage and then just eyeball color temp corrections as needed. There really isnt a way of adjusting an image an exact amount of kelvin is there? Its just eyedropper greycard balance or eyeballing to correction.
  5. Zachariah C. Bensel
    Im just trying adjust the white balance to keep the colors accurate. I still want to retain the color profile imbued upon the image by the lens and filtration. Is there no way in a post-production workflow to alter a white balance by a specific degrees Kelvin? Just to get the STOCKS white balance correct?
  6. Zachariah C. Bensel
    Hello, I am in need of some post-production assistance. I am shooting a short on Kodak 250D, and am looking to alter the white balance of my captured images. However, I want to retain the color characteristics of the lenses and filters I am using in the shoot. I have the ability to detect the color temperature of the exterior lighting my film will be exposed to. Is there any way to adjust the color temp of my footage by an exact amount of kelvin? I.E.: Kodak 250d white balance is set at 5500k, my sunlight is coming in at 6200k. Is there a program that can alter color temp by an exact figure, rather than on a +100\-100 scale. I want to adjust the stock to be color balanced while retaining the color quality of the lenses and filters I am using.
  7. Zachariah C. Bensel
    Any input on my previously stated method of noting actual color temp on each slate and adjusting hot or cold in post? That, in combination with a color chart at 5500k should be plenty to make appropriate color adjustments while retaining the color qualities of lens and filter, right?
  8. Zachariah C. Bensel
    Solid plan. I just really want ensure that my lens character remains uneffected through DI. I dont want to lose the naturalistic warmth the Baltars afford. This whole scanning and DI thing is a new process for me, as my background is primarily landscape photography with mostly B/W stocks and prints.
  9. Zachariah C. Bensel
    Id say shoot in the native B/W. Youll have a better idea of your contrast shooting with the Monochrome than you would if you where just de-saturating in post. Although this is coming from a color grading phillestine; the less tweaking you do in post, the less data and noise you are adding to the image.
  10. Zachariah C. Bensel
    Note: my processing method will be process and scan via CineLab. Scan will be on a Xena 5K at 2K with a Single Color Pass.
  11. Zachariah C. Bensel
    I really dont want to do anything other than white balance adjustment. My desired method for this was to take a color temp reading with my exposures, note it on slate, and adjust the stock up or down accordingly. I dont want to do a grey card white balance, as I still want to include the natural warmth afforded by the Super Baltars and the Warm Black Pro-Mist. Really, Im asking what the color characteristics and contrast profile are of the stock. Does it run blue or green heavy? Is the contrast close to eyeball?
  12. Zachariah C. Bensel
    Besides, I dont want to overcorrect in post, as I want to retain the warming effects of the Super Baltar glass and the Tiffen Warm Black Pro-Mist. If I shoot daylight with the 250D, the colors should remain accurate, not accounting for glass and filter, right?
  13. Zachariah C. Bensel
    Yeah, white balancing in post I can do myself. I doubt that will be an issue at all, as when CineLab runs a scan on its Xena 5K, they do a Single Color Pass grade. After that pass is completed however, will any additional DI be nessesary in order to adjust colors? Does the stock run blue heavy in daylight? Is the contrast level close to eyeball?
  14. Zachariah C. Bensel
    I come from a photography background. However I have shot almost exclusively on black and white stocks, and have only used color stocks a handful of times, and during those times used Fuji, not Kodak. I’m have no issue with filtering a stock, but I don’t like the DI color grading process, as I find it feels very artificial. If someone could maybe put up some uncorrected stills so I can see how the stock looks without being messed about, it could help me out a lot.
  15. Zachariah C. Bensel
    I’m planning on getting the processing and scan done from CineLab in Massachusetts, with a 2k data scan with a flat pass to ProRes444.
  16. Zachariah C. Bensel
    I am not nessisarily going for “absolute accuracy”. I really just want to know th color characteristcs. Uncorrected in daylight, is it going to run blue or green? Is the color balance in a “normal” range. I’m okay with having to tap some levels one way or another. I’m just asking wether straight out of camera, are the colors and contrast of 250D natural or skewed one way or another?
  17. Zachariah C. Bensel
    Originally posted in FILM STOCKS Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think
  18. Zachariah C. Bensel
    Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think?
  19. Zachariah C. Bensel
    Seeking to purchase an Arriflex SR series camera. Technical Requirements: Arri SR series (SR, SR2, or SR3) PL lens mount Super 16mm gate Preferred Included: hand grip spare mag 15mm rods long viewfinder No lenses, video tap, or other accessories required. Just in need of a solid, working camera. Max Budget of $3500 PM for communication
  20. Zachariah C. Bensel
    What are some of the characteristics of the Elite Mark IVs? They are the easiest to get a hold of in the states.
  21. Zachariah C. Bensel
    The cost of converting a Bolex to Super 16mm is typically going to run you around $1000. In addition, a non-reflex Bolex (and non-reflex cameras in general) are a pain to use, especially with a moving subject or camera. In my humble opinion, I would consider instead doing a Ultra 16mm modification ($500), or choosing a different camera.
  22. Zachariah C. Bensel
    For the purposes of future testing for a project, I would like to get some opinions on the various characteristics of some Super 16mm primes. Flares, bokeh, sharpness, contrast, color temperature, the works. Lenses in particular I would appreciate information on are... Zeiss Super Speed Mk 1 Zeiss Super Speed Mk 2 Optar Illumina s16 Cinema Products Ultra T Any other prime sets that have both 16mm & 25mm focal lengths. I'm really only interested in prime lens sets, no single primes like the Angenieux 5.9mm or any zoom lenses.
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