Alex Haspel

i suppose to be able entering "5 meters" + "23 centimeters" for example.

well, as i stated before i didn't cut the trailer (actually more a teaser).. i just shot it. i had no influence on everything you mentioned. but thanks anyways...

thanks a lot! yeah, it's surely more of teaser, but i'm happy to hear that you liked it that much. well, the sets weren't exactly designed by us, since we had no money for that, we've just been location scouting some time... and the lightning, yes it was only practical lighting. some locations gave me a bit more freedom with moving the lights, and the others basically fitted as they were.. like the kitchen.. i only added a little fill with a 11w compact flouro bulb, just to keep the style :) and yes, isolated was exactly the atmosphere we tried to create. yay! well, the teaser footage is only slightly corrected as far as i know. we made a one light transfer, since we couldn't afford more, and we'll work from there with probably after effects' color correction at home.... and yes, the widescreen thing is only cropping.. unfortunately we had to shoot on normal16, since a super16cam wouldve been way over budget.

damn... i hoped the microwave isn't too visible, too easy to point out there. well that bathroom is actually my bathroom/kitchen... the gasoven and the basin are just out of frame at the right, so there are some power outlets too... i don't know if this is somehow "approved", i just inherited the flat like that. you made laugh quite hard here... i hate to tell you but the chocolate theory is quite off.... the story bases on greek mythology, with some other wierd historical references weaved into the script. like the minotaurus is trapped in a spacial labyrith, she is trapped in a labyrinth of time. the films title means "ramifications" in english, which is means ramifications of time, not space. at the end realizes that the only way out is death. i always have a hard time describing the script (i didn't write and never fully understand) in my mothertongue, but this was extra hard. phew. thanks a lot. no, there arent, we had a set of zeiss highspeed primes (12, 16, 25 and 85mm) and one crappy angieneux 5,9mm that basically fell apart during shooting. we put i together again somehow and i only used it twice, when there wasnt enough space to get the desired shot with the 12mm... why do you ask? yeah, nice as pleasant wasn't really our goal... thanks a bunch! thanks! the light level was indeed low, thanks to 7279's 500asa. we had a making of guy on board and he kept complaining that he had to shoot with +9db and/or 12fps on his canon xm2 .. B) well, i'm glad you didn't see the microwave in the first shot... that's a rather stupid mistake, since the room which actually is a kitchen with a bathtub is supposed to an "only bathroom"... because we shot the kitchen scenes in another kitchen. yeah, the crying was really good. .. i think she did an overall very good job, considering that she's only a semi-professional as far as i know.. the music... i didn't cut the trailer nor choose any music... well, i wouldn't listen to that at home while reading a nice book with a glass of good red wine in my hand, but just like you said, i also think that it works. thank you all! (except for hal who seems to be obsessed with electricity ;) )

28 views and not a single reply? come on guys, i hope it's not that bad.....

how exactly does a grain reduction like that work? is it comparible to photoshop's gauschian blur?

hello everyone. here is the link to the trailer: we shot on 7279 with a 16bl and zeiss highspeed primes. the quality of the videofile is rather crappy, but you might get an idea. comments are of course highly welcome. greetings,

the legendary sony tc-5 (this is not mine, havent got a pic of it)

you mean the Varicon? there is a article comparing the panaflash and the varicon here: http://mywebpage.netscape.com/markwoods9/Flasher.html

googled a bit: It is an accessory used to push up the exposure of the black in the film to a level of visibility when normally may appear to as a total black picture. In general the level of black is adjusted during the final post production lab processing. The lab flashing adjustments of each scene becomes a rather difficult task in compared to the effect which can be easily achieved through the Panaflasher device. The Panaflasher uses the empty magazine port and the flashing percentage can be adjusted. It is a rather compact device which will not interfere with any lens change. The device contains a halogen lamp and through six 216 diffusion filters (in order to flat light) and a 80C filter, the flashing is applied to the negative film. Accurate flashing amounts are read and calculated in accordance with it's special exposure settings and internal exposure meter. It also provides the useful option of inserting a color filter if needed to colorize the dark area. The Panaflasher certainly helped the volume of meticulous lab work otherwise then would be required from the camera department.

quote from the ebay auction: "comes with what you see in the photo plus an extra film holding chamber like the one on the camera now and one battery. We turned the camera on and it runs." but i thought they only run with film loaded in the "film holding chamber" .. . <_< funny.

funny. design wise they look like straight arri copies.

i enjoyed (and still do) an education in still photography, which helped me alot in regards of understanding the procedures happening when exposing film with light. so i'd say photography aint a bad start. get yourself a analog slr camera, a light meter, and a b/w darkroom.... and as a next step you can get yourself some reversal film and see how accurate your exposure really is. i can't say how i might be able to self-confidently expose film for moving pictures if i hadn't had this education. it simply is essential in my opinion. good luck,

It's more like "Lars van Trier" ...

i was watching irreversible for the 3rd time and unlike the first two attempts where i was constantly paralized by the movie itself( which rarely happens), i was finally able to try keeping an eye on some of the technical aspects of it. and i wondered how they did the outdoor night stuff. like just before monica belucci's character enters the passage or when vincent cassel and albert dupontel harass that transvestite on the sidestreet with all the hookers. shadow-wise it looks like the light was really coming from the streetlights... so does anyone know how they did that? did they beef up the existing streetlights or did they fudge by somehow putting units behind/over the existing lights..?? i don't know about paris but vienna's lighter streets are about a t1.0 to 1.2 at 24fps/500asa ... and since they shot on super16 and the movie looks nothing like it grain-wise i suppose they must have done some lighting in order to achieve slight overexposure, no? and there also was Benoît Debie credited as ligting designer and someone else as gaffer. and i suppose they didn't need a gaffer for setting up practical floor lamps in the interiour scenes.... so if anyone knows... please help me allay my curiosity. thanks in advance,

hi andres. i have only had super8 telecine done once, and this was at andec. it was for a 16mm project and i also sent them a pic of the already telecined 16mm material, so that they would match it. worked out fine, their telecine looked flawless to me. they are quite a bit expensive, but do good work.

that looked really good. visually, i think it had quite an 80's videoclip aesthetic going on. i liked the beginning very much, especially as he enters the room with the girl, but i found the middle part to look a bit flat. (the part beginning with the in my opinion rather unmotivated dolly move as she tastes the fruit/he knees down...) there's also quite a jump in the light on his face as she stands up to touch his face and you cut to the closeup.... but that's supposed to be constructive critisism and also just my humble opinion, and besides that i'm also just a beginner and you can backbite at my latest work here: http://www.cinematography.com/forum2004/in...showtopic=12127 just out of couriosity, what stock/lenses/light package have you been using? (my guess would be 7279 and primes of some kind since there was no pumping)

hi. i love low level / natural lighing too. if you liked that.. i just shot a short using a similar lighting philosophy, it was lit entirely with practicals. take a look and leave a preferably nice message :) http://www.cinematography.com/forum2004/in...showtopic=12127

depends on what you want to shoot. but you can't really go wrong with some fast primes and good focus puller. p.s: i assume you mean the mini35 adapter.....

i'd try putting up a large diffusion frame above the camera and a light with a big, self made shutter (maybe attached to the motor of a big fan) behind it.

oh, and no, we didnt use a matte box. there was no space left, because (as you can see in the first picture) the follow focus was standing out far more that all of our lenses. and there is also one more thing to mind with the 16bl and follow focus: the bajonett is bedded in rubber. (most likely for noise reasons) so when pulling focus to infinity you have to stop right before you hit the pint where te ring on the lens stops moving, because the toothwheel will pull the lens down and your image will make a jump... sounds crazy, but it really is a problem out of many more when shooting with a 16bl

it was a matter of millimeters, but the cogwheel fully fitted on the teeth of the prime... and we had a distance plate, since the lensmount on the bl is so low... you can see it here. (more or less) hope i could help... oh, and if you do something like this, remember to get a GOOD, BIG head!! the center of gravity of the camera was really high with that construction, so when panning up or down it almost panned away if wasnt holding hard against this. but this could be counterbalanced perfectly with the hardest spring (if it's called like that in english) on the big sachtler head.

i don't know, but i'd guess that they had quite a budget. so, my tip goes to 35mm.

and the first one... the working aperature was also 2, and all the light is coming from the practicals you see within the frame. the key on her face's right side was 2,0 1/2 since i tried to overexpose half a stop troughout. the rounder lamp in the background was about 1,4 or 2 on the wall right next to it, but as you can see with quite fast falloff. the only fill "used" is the lighter in the moment the cigarette is lit. that's what i love about low-light shooting!