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brandon kaufman

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  1. 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!
  2. 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 som
  3. 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 ha
  4. 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
  5. 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
  6. 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
  7. 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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