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Boris Kalaidjiev

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Everything posted by Boris Kalaidjiev

  1. Boris Kalaidjiev
    I only have ProRes 422 at my disposal right now. The final scan is 4K DPX but I doubt the noise and grain would be less in the DPX compared to the 422. When I bring the log 422 into resolve and bring down the blacks so they’re at 0 everything still seems a bit to noisy (I am not trying force pull any details out of the blacks). Would you recommend rating the stock 1/3 or 2/3 faster or pull it one stop for cleaner shadows on S16?
  2. Boris Kalaidjiev
    I guess if I rate 7207 at 160ASA I am forcing my self to light more and then I can easily bring down the 2/3 overexposure in post, right? Would that result in cleaner blacks on S16?
  3. Boris Kalaidjiev
    Hello everyone, I am currently shooting a feature on both S16 and S35mm stock. When shooting on S35 (5207) my blacks are black and look really nice, I keep them around 4-5 stops under and they look great. But when it comes to 7207/7219 if I do the same they look super grainy a bit too much. How can I reduce the grain in the shadows? 1. Is it better if I rate my 7207 at 200ASA or even 160ASA? 2. Should I rate my 7207 at 125ASA and then pull down one stop? 3. Should I try and keep the darkest part on the frame 3.5 / 4 stops under and try and maintain that with my spot meter instead of letting it go lower and then later crush it in post to get rich blacks? A bit lost here on what would be the best approach for this. Thanks
  4. Boris Kalaidjiev
    What are the focal lengths?
  5. Boris Kalaidjiev
    The portrait looks nice! The spotlight idea you mean just to be eye level and to spot/cut it dead on the face? If that's what you meant then i run into the problem of having a weird shadow from the head on the wall behind. But it does help pull out the eyes a lot because then you see the actual light in the eyes. What would you suggest if you had a medium shot / medium wide shot? Thanks!
  6. Boris Kalaidjiev
    Hello everyone, Is there a trick on how to keep someone's face underexposed by 2-4 stops but also give them a nice eye light so there is still life in the eyes? It is really hard to just pick up the light in the eyes without contaminating the whole background. I am mainly talking about interiors and not close ups. I've tried to light a 4x8 poly and keep it 10ft away from my subject very dim so that the eye could maybe pick-up the big poly without it being strong enough to actually light up my background. But the eye couldn't pick it up. Any tricks or ideas? P.S I also tried giving the actors eye drops so his eyes would be a bit more watery thinking that, that might be helpful but no effect so far. Thanks!!
  7. Boris Kalaidjiev
    Hello everyone, I am having trouble with my XTR Prod. I am having some light leaks for the first time with the prod from the right side. I recently processed 8 small rolls, shot on 4 diffrent days with 3 diffrent mags and they all have the same pulsating light leak on the right side of the film. It is strange that this happened on all rolls on the same side. Most of the leaks are outside the extraction area but when they become bigger they do go into the actual usuable area. I am sure my changing bag is good because its brand new and I spend 10min in it today in the hot sun looking for leaks. https://vimeo.com/830278397/5d47571752?share=copy The leak is very obvious at 14:03. Has this happened to anyone else before? BTW DHLed my stock to the lab. Thank you!
  8. Boris Kalaidjiev
    I am interested on their LS 600X light but haven't had the chance to test it yet. By color accurate you mean their CRI is low or they dont produce the exact Kelvin's that are written on the display of the unit? How do skin tones feel with them? Have you done any comparisons with other lights? Thanks.
  9. Boris Kalaidjiev
    Hi everyone, Has anyone heard of Lishuai Lighting light? Any experience with them and how they preform? They seem to be copying Aputure and Nanlite but then I guess they're probably all made in the same place. https://www.lishuai-lighting.com/ Thanks, Boris
  10. Boris Kalaidjiev
    @matthew Do you stick them on to the lens or do you use a matte box on rods?
  11. Boris Kalaidjiev
    Embedding sounds complicated. What about the 2pin lemo R/S. If you rolled your camera from the main dial (operator side) would there be a signal on the 2pin lemo on the other side of the camera? If there was something maybe a custom cable could be done from the 2pin lemo to a 3.5mm jack (that some monitors have to trigger them). Not quiet sure what signal has to go through the 3.5mm jack for the trigger. Of course embedding the trigger signal would be much nicer.
  12. Boris Kalaidjiev
    Hi everyone, I have an HD Video Tap from Visual Products on my Prod. I was wondering if there is a way to trigger record an external mon when the camera rolls? It would be really convenient when the camera starts rolling to somehow automatically trigger the external mon/recorder that's attached to it. Could any of the the Lemo 2, 6, 9, 14pin connectors on the camera send a signal when the camera rolls and use that signal to somehow trigger? Is there a way to embed the trigger in the SDI signal of the video tap? I've heard that there are some sort of SDI trigger boxes but I think everything becomes a bit bulky then. Thanks!
  13. Boris Kalaidjiev
    Hello, Has anyone clipped on NDs on Zeiss Super Speed MKIII (S16). The front lens diameter is 80mm and I am trying to find a solution for small ND filters to clip onto the lens (circular ones). Will 82mm work or do you think it might vignette on the 9.5mm lens from the set? I know there is 95mm clamp-on adapter but 95mm filters are also harder to find. I found this link but not sure if it will works. https://rafcamera.com/clamp-80mm-to-m82x0-75f Thanks, Boris
  14. Boris Kalaidjiev
    If you take a look at the Digital Bolex which was a S16 camera created from a kickstart campaign. It had a CCD sensor and you could straight away feel that there was something diffrent in a really nice way about this camera The textures and colours were somehow diffrent, real straight out of the camera without any tweaking and so on. So I do think that there is something to CCD sensors but of course there are pluses and minuses with both sensors. If i am not mistaken the Aaton Penelope Delta was with a 3.5K CCD sensor of course that unfortunately never took off but those guys were really ahead of their time back then.
  15. Boris Kalaidjiev
    You can try and contact Herman at Camera Market for just purchasing a belt. https://cameramarket.eu/equipment_detail.php?type=dicam_16mm&no=38 If you need someone to take a look at the mag and also purchase a belt you could contact : Edwin Schouten - etkonsale@gmail.com Danny at www.cinefacilities.com/contact All 3 people above are located in Amsterdam.
  16. Boris Kalaidjiev
    Thank you for the replies. I am shooting 80% of the film on S16 with an aspect ratio of 1.66:1 and the other 20% will probably be widescreen 2.39:1. Aren't the limitations of shooting 2-perf the same as shooting S16. In both formats: 1) I wont have the hight or width to stabilise 2) More hairs and gate flares What other limitations or headaches are there with 2-perf that I am not thinking of right now? The cost between 2 and 3-perf is about a 1/3 more which is not that little and in 3perf crop to widescreen you only gain a tiny bit more of film negative as compared to 2-perf but of course you have the other advantages too. Thanks!!
  17. Boris Kalaidjiev
    @David Mullen ASC Why not just shoot 2-perf instead of shooting 3-perf and cropping down to 2-perf to get wide screen? Wouldnt you get the same effect and cheaper?
  18. Boris Kalaidjiev
    Thanks for pointing out that I would also need split spools! When you're using a Steenbeck do you just skip all the rollers and go straight from the Feed with a twit to the Take Up side? Sorry for asking all this, its just all very new to me and I have never even seen a Steenbeck in real life haha. Thank you!
  19. Boris Kalaidjiev
    What do you mean by EO? I would be using normal film winders that you attach onto a table or something. I will try and see if I can find a flatbed but I think they're probably all not in a good shape and probably don't work. But you're saying that on a flatbed it would a lot easier than using hand cranked film winders?
  20. Boris Kalaidjiev
    @Mark Dunn What do you mean by a twist? You mean like an 180 degree twist? I can’t figure out how you could do it without also doing the middle part that I have in my funny drawing. Are you saying that if we’re looking at my drawing you can skip the second step (the middle one) by somehow twisting the film? Thanks.
  21. Boris Kalaidjiev
    Hi everyone, I know this question has been asked a lot and has been talked a lot about but I still dont quite understand it 100%. I have an upcoming feature on the A-minima and the rental house and lab have unfortunately very few spools, maybe 10-15. That means that during our production we would probably have to spool film on to the spools on our own, shoot and unspool onto normal 16mm cores so that we can re-use the A-minima spools again. I know that what we get is normally B wounded film and the A-minima needs A wound film (emulsion out). But how do you get from B to A? I have a very primitive drawing that I will attach hopefully its not wrong. Thanks a lot!!
  22. Boris Kalaidjiev
    Hi everyone, I have an upcoming project with the A-Minima and I have two main questions if you guys can help me out. 1) We are shooting in Malaysia so there isn't a lab here anymore and it's a bit complicated with the core because the camera that we're renting only has about 10-15. That means we might need to re-wind film on to the cores ourselves and after we've shot on them to take the film off and put it on regular 16mm spools. This way i guess we can keep re-using the A-Minima cores and not send them to the lab. How difficult is it to do all of this? 2) How bad is the BW Video tap in low light? If for-instance you had to put a 7stops ND (2.1) for outdoors would it be very bad? I am asking because I will mainly be relying on the Video Tap for framing because I wont be able to look through the viewfinder for this shoot. Is it possible to attach a small camera for instance a GoPro or something to the viewfinder? I have a GoPro that comes originally with a C-Mount, I don't know if that could be of any help. Thanks a lot!!
  23. Boris Kalaidjiev
    @James Wachtel did you eventually manage to spool the BW film on your own?
  24. Boris Kalaidjiev
    Hi everyone, I just have a few questions about storing, shooting film and then sending it of film to the lab. I have fresh Vision 3 stock that I am keeping in a freezer. I am shooting in South-East Asia and here its always hot and humid so when I take a can out of the freezer to acclimate the stock it straight away condensates because of the heat 20-30 degreese celsius. Should I bring it from the Freezer to a Fridge and later bring it out of the Fridge into room temperature or it doesn't matter? If I dont open a can do I after put it in a fridge or a freezer for the next day or week? After having shot something should I put the short ends back into the fridge or freezer? I guess the exposed negs until I send them to the lab they should go back to the fridge, right? Thanks!
  25. Boris Kalaidjiev
    You're saying that the condenser lens is on the actual BW video tap and not the camera, so that's why the GoPro wont work for option 1? What do you think about somehow attaching it to the viewfinder?
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