Jump to content

Sean Dahlberg

Basic Member
  • Posts

    21
  • Joined

  • Last visited

Profile Information

  • Occupation
    Cinematographer
  • Location
    New York

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Two parter question here...I’m going to be shooting a feature in the Eastern Bloc, to avoid flicker in the lights I plan on either shooting 24fps/172.8 shutter angle OR 25fps/180 shutter angle, either of these will be safe from flicker while shooting? The other question I had is we have a scene with a few old CRT PC Monitor’s and am debating the specific shutter angles needed to be safe while shooting either 24/25fps (whatever distributor decides). Any and all help would be appreciated since I can’t physically go scout/test in the location prior to shooting.
  2. Posted this in 16mm but maybe it belongs here... I'm about to DP a short film where the director and myself would like to shoot 4x3...I've always finished 1.66 or 1.85 with my XTR Prod and the 2k scans have been great for that but I don't believe they would be large enough scans for a true 2k DCP finish? A 2k DCP finish for 4x3 would be 2048x1556 (?), so in order to completely fill that frame I would need 4k scans, correct? Thank you for the insight
  3. I'm about to DP a short film where the director and myself would like to shoot 4x3...I've always finished 1.66 or 1.85 with my XTR Prod and the 2k scans have been great for that but I don't believe they would be large enough scans for a true 2k DCP finish? A 2k DCP finish for 4x3 would be 2048x1556 (?), so in order to completely fill that frame I would need 4k scans, correct? Thank you for the insight!
  4. Evan, thank you for this response, super helpful. Do you know if they still make that double sided LW 15 clamp? If I could find this, I'd settle for my left grip being the Wooden Camera one...I'm going to do my own searching but figured I'd ask anyways. Thanks again man!
  5. Two questions that may be a bit elementary but I can't seem to find these items anywhere. 1. Does anyone make an extender for the right Aaton handgrip (as in the photo)? 2. Did Aaton every make a left wooden handgrip? Currently I use a Wooden Camera one that's "similar" but it feels like a toy compared to the Aaton version. Thank you for the help!
  6. I'm playing around with finishing super16 for a 2k 1.66 crop in Premiere Pro and I want to make sure I'm doing this correctly. I believe a 2k finish for 1.66 would be a sequence size of 2048x1228 but when I do this I'm still seeing parts of the film gate, I have to scale up to 103% in order to get rid of it. Now, I also made a sequence that was 1800x1080 and the image "fit" nicely into that but for some reason it doesn't feel like this is the correct sequence setting for a true 2k 1.66 finish. If anyone can correct this brain fart I'm having it would be much appreciated, thank you!
  7. I'm curious about this furnie blanket (that's what it looks like) "rig" C. Doyle is using at around 4:12 in this video. I'm curious if this is just a rolled up furnie blanket taped up with a work belt threaded through the middle? Has anyone done any DIY type stuff like this to sort of support the weight of the camera while on your shoulders? I'm very interested in hearing your ideas/solutions if so, thank you!
  8. This specifically an XTR Prod question but I'd figure I'd comment here rather than starting a new thread....What is the proper way to ease the stock back into the feed side? Every time I do it I feel like I'm forcing the film back in there and I don't love it. Does anyone have a suggestion? Thank you kindly.
  9. Thank you Bruce and David for your responses this was exactly what I needed to hear.
  10. I recently conducted a pretty large lens/camera test that involved an Arri Alexa Mini and an Aaton XTR Prod. Now, I want to be able to compare them side by side as well as be able to show directors the differences/similarities between film and digital. Both the film scans and the digital dailies are in LOG and I would love to give them a similar grade so that I'm not influencing the look of either camera systems. Now, the Alexa Mini dailies attach a 709 LUT when imported into premiere, my question is: is there anyplace where there's a sort of 709 for Kodak Vision 3 stock that I can apply to my Log film scans? If not, how would you recommend I can grade these so that I'm not "influencing" the look of either?
  11. I am trying to figure out ways to rig my AB battery plate & Core Hypercore Slim 98 to my Aaton XTR Prod. The only way that seems to make sense is by sticking it to the side of a magazine via dual lock. My question is, is this a bad idea to put a little weight onto one side of the magazine?
  12. The house I get my scans done at only do 2k and 4k I believe. In that situation which would you go with? I don't believe scanning at 2k would allow me a 2048x1536 without scaling the dailies up, correct?
  13. Thank you, Tyler! So, this would be a situation when scanning 4k wouldn't be overkill?
  14. Thanks guys, this was sort of my thinking. Appreciate the responses.
  15. Hello, I own an Aaton XTR-Prod and have shot pieces for a 1.77, 1.85 or 2.35 crop. I recently came across my first project where the director wants to shoot STD 16, my question relates to how this would be done the smartest way without wasting too much of the negative. I was under the assumption that I would shoot normally while framing for 4x3 crop...later at the post house I would get a 1.33 scan and a raw full aperature scan. If I'm correct so far, what would be the correct 2k sequence settings in Premiere Pro for a 1.33 finish.? 2048x1536? Would the cropped neg cover this whole area? Thank you for clearing up some of the confusion, I feel like I'm over thinking this a bit.
×
×
  • Create New...