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Frank Poole

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    Student
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    MA

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  1. @Webster C Thank you for sharing!! great stuff
  2. Sorry if this has been asked before, I searched around and can't find an answer. I have a Bolex H16 and some film I am excited to shoot! I have a selenium incident meter that I understand how to use, but I also have a pair of reliable reflective spot meters in my 35mm SLRs (canon & pentax), that I think would come in handy to double check against the incident meter and more importantly meter walls or objects far off in the background. The idea here would be to match my ISO and shooting aperture on the SLR to the Bolex, and then set the shutter speed to...? 60? Should I just use an iPh
  3. @David Mullen ASC Your story about the foamcore shapes is amazing! I love that, very inspiring. I did not know about the brilliant Terminator gag either. I do know about many of the brilliant tricks Cameron would use next on "Aliens" that were similarly economic, reinforcing your point about making the magic inside the frame, to the extent of set walls only extending a few inches outside the frame etc. I am still chewing on that idea of exclusion and its effect on the audience. I guess it's really dependent on the story and scene
  4. this question is part-philosophy, part-technique, like all of cinematography i guess. It's been said many times that "what's outside of the frame is just as important as what's inside of the frame". I think I understand this in my own way, but what does this statement mean to you? How do we keep this in our minds when composing to better serve our storytelling? To me, this question is indicative of the link between cinematography and editorial. thanks !!
  5. @Doug Palmer thanks Doug!! Could you share a link for those examples? Would love to see.
  6. Hey peoples, I have a Bolex H16, and i'm contemplating converting it to Super or Ultra 16. I adore 4:3 and may just leave it as is, but the ability to get more out of the film is very attractive. Super 16 is taller but just a tad less wide than Ultra. Some say Ultra is the most versatile because you can get the widest image and crop if you're so inclined, but it's not as tall, so I think the same could be said of Super, essentially. I have full frame lenses with an adapter that I would be using so vignetting won't be a problem Any opinions on the matter? Thank you!
  7. Just looking at the wikipedia page for films shot in Techniscope, and I am really struck by how about two thirds of the films shot in this format were in the 1960s. The past 40 years have seen very very few in comparison, and in the past 20 the only filmmaker who seems to have a preference for it is David O. Russell. Are there disadvantages to shooting 2-perf?
  8. @David Mullen ASC Thanks David, you're very generous with your knowledge! I see you're active on the Deakins forums as well answering questions. Having a "no secrets" attitude when it comes to the creative process is, from what I see, the mark of those who aren't afraid that they could somehow be outpaced by others using the same methods, because it isn't about the methods in the end, but the philosophy and perpetual learning and growth. I'm really a beginner so forgive me here, I understand running an under and over test, but how do I interpret what the grey card is telling me? Should it
  9. @David Mullen ASC Thank you so much for your thoughtful response and offering your expertise!! Do you think you would do it differently with 16mm color negative or reversal?
  10. So this one is very specific. I was very taken by this shot i saw in someone's old 16mm student film. I am wondering if you all think a bounce card or something was used for the shadow side of her face? The rim light seems very hard, naturally, and I'm wondering if it may have wrapped around or created the ambient light to achieve these details in the shadow? Your guess is better than mine! More importantly: if you wanted to achieve this shot, how would you go about metering/exposing it on film? (p.s. tried to reach out and couldn't get a response, haha) Also i appreciate the faint highli
  11. It's said that filmmaking and directing in particular are about "managing chaos" or "orchestrating accidents". What are the things that simply can't be planned or counted on? Do you have a story to share that is indicative of this aspect of filmmaking?
  12. EDIT: I meant horizontal banding type flicker. i dont know if that's only a digital problem..
  13. @Dom Jaeger Thanks so much Dom! that is super helpful! I had to read your answer and your older post about metering several times but it's finally starting to click. What I meant about the flickering is, since I will be working no/low-budget, I will likely be using these RGB LED smart bulbs I have at home in various setups, and when they are dimmed, they can cause an intense flicker I found when shooting my mirrorless cameras. I was asking if using the mirrorless cameras at 24 fps would accurately represent how the lights may be captured on film running at the same rate. I've done so
  14. @Simon Gulergun Thanks so much Simon! Great info. @Dom JaegerI only got the camera body and plan to use my stills lenses with an adapter because they're what I've got. They're Canon FDs if that helps
  15. I've ordered a Bolex REX 3 and I am so excited! I've also gotten a Sekonic L398, so I've really got the cliche film student package, haha. Honestly, the simplicity/limitations of the tools is what I find inspiring and fun. A few things I'm still trying to grasp: - Shutter angle: When to adjust and how, for effect or utility - Aperture: How to compensate for the viewfinder? - In what situations is it practical to push or pull the film more than an aesthetic choice? - common pitfalls to avoid? - best places to buy film stock? - Is using a digital camera for re
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