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brandon kaufman

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    Student
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    Toronto

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  1. In that case maybe it makes sense to just hire an editor—thankfully I have some friends who do that! Maybe it's beyond my technical knowledge/skills/infrastructure at this moment in time... Again though, thanks so much for taking the time to help out!
  2. Thanks so much for this reply! Just one point of clarification. Do you mean I will need a better computer no matter what going forward? Or to be able to cut it in 1080p?
  3. I have not, but I tried editing a previous project in 4K on my computer and the frame rate was, like, 1. I did not, however, render proxies that time.
  4. That makes sense! Very much appreciate that. Also not sure if this is unhelpful but I'm looking to end up with a 5K cut for the colour grader.
  5. Hey! I'm wondering if someone could give me some advice on figuring out how to go about post for a short film I wrote, directed, and am editing. A little context: it's in 5k and the files are .r3d. My computer's a little bit slow when I've used DaVinci in the past. Here are some specs: 2.3 GHz Dual-Core Intel Core i5 8 GB 2133 MHz LPDDR3 Intel Iris Plus Graphics 640 1536 MB I'm not particularly well-versed in technical minutiae, but I don't believe that's ideal for the kind of onerous files I'll be dealing with. There's a good editing suite near where I live, but that costs pretty expensive, and the budget's already very tight. Does it make sense to render / convert the files there and edit them at home, using my free version of Da Vinci? Alternatively I could render/convert and buy DaVinci pro, since the cost would be roughly the same for a single day of editing. But if it seems like it's necessary for the sake of the project, I'd definitely be willing to go over the budget and edit in a professional grade facility. Excited to hear thoughts / can answer any follow up questions! Thank you so much....
  6. Hi, I'm trying to achieve some of the effects used by Stan Brakhage and Carolee Schneemann for a project I'm working on. I think they painted on the film and ran it through an optical printer, which a local co-op has for rent. Example of what I'm thinking of... Anyone have any guides or advice on how to go about this? Thanks so much!
  7. Hey!; I'm shooting a concert tomorrow. There's going to be a crew working with digital cameras, but I'm bringing my Bolex too. I'm fairly certain it's going to be pretty dark, but I'm expecting a spotlight on the performer's face. This was a short notice thing, so all I was able to get was 200T and 250D rolls. Anyway, I'm of course nervous about not exposing correctly (especially because I usually direct and leave the technical stuff to my DP). Should I be intentionally setting my light meter to a different ASA in order to overexpose? Should I ask the lab to push/pull? Or some combination of both? Just wondering what you all would do in this situation. Thanks so much!
  8. Hello! Hope everyone's doing well. I'm shooting a little thing with my Bolex tomorrow without a DP. (It's mostly just for fun because I haven't been doing much since Covid started). With that said, I have some questions. You'll have to excuse my technical incompetence. The camera is an H16 Reflex (it says 176944 on the bottom) and the leens is a Switar 25mm (no. 506204). 1. I've read that the variable shutter reduces the need for a neutral density filter. When I'm metering a shot how do I adjust for this? I'm mostly shooting outside, so I would likely need to stop down, correct? I have a Sekonic L-398. 2. I've got two No. 1A Skylight gel filters, which supposedly make outdoor shooting warmer and cool blues. Would you recommend using this? Would I need to adjust my shooting in any way? I have the attendant adapted shutter speed numbers for 24fps (normal: 1/80 - 1/2: 112 - 1: 188) but to be honest I'm not sure how I need to readjust. 3. Given my lens (which I'm not sure adjusts for the lost reflex light), would I have to take into consideration the effective 1/80 shutter speed? Or does the lens negate this? I really, really appreciate everyone's help + time. All the very best, and let me know if you need any more information.
  9. Hey! I'm in preproduction for a short film we're shooting on 16mm. I'm super inspired by Chantal Akerman and her long takes. Now, my fully winded camera will only shoot for 30-40 seconds. Does anyone have any creative workarounds / tricks / etc for doing long takes in this kind of situation? Thanks! Brandon
  10. Hello! I'm planning on shooting a short doc this weekend, and before I do that I just want to ask a few questions. Here are my test rolls: The first cartridge was 200T and the second was 50D. These were scanned flat: is this the reason they look so .... grey? I like the texture of the 50D but the 200T seems off. Did I overexpose? I shot on a Nizo S560, if that makes a difference. I assume I should get 200T because I will be both indoors and outdoors and won't have that strong a light source, but I don't want it to look so drab. (I'm getting the next project colored, though, so hopefully that will make some difference.) Should I go for 500T? Let me know what you all think or if you have any other advice! Thanks so much.
  11. Hi! I have a quick question about this short: Does anyone know, or can anyone guess, how this was made? I know the Tscherkassky used footage from an old film, but did he gave the negatives? How would one go about doing something that looks similar on 16mm? Thanks so much! D
  12. Hey! Not a DP but a director. I'm shooting a short at the end of the month on 16mm, and 400' of this stock is alluringly cheap. Has anyone used it before? If it's blue-sensitive B&W, is it possible to shoot indoors? That's probably a dumb question but are there any workarounds? I'm a student and my DP is too (they don't have much experience with film but hey, should be fun). Ideally trying to get something like a Cassavetes film. Hoping someone has some tips or advice! Thanks so much!
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