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Edward P. Davee

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    34
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About Edward P. Davee

  • Rank

  • Birthday 02/11/1972

Profile Information

  • Occupation
    Other
  • Location
    portland oregon
  • Specialties
    director/DP. Filmmaker. Unconventional narrative features and experimental docs.

Contact Methods

  • Website URL
    epdavee.com

Recent Profile Visitors

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  1. I have an original, working Eclair ACL Nicd charger in nice shape that I could offer for trade also. I won’t be needing it.
  2. Hello, I’m on the lookout for an Eclair TS Mount for Arri standard. Interested in Bayo and PL options as well, but my more immediate need for now is the Arri Standard. Also looking for one or two on-board Eclair batteries. They don’t have to have the mounting rack bolts on them and spent cells or even empty shells are fine. I intend to re-cell To NiMh anyway. Could use a few more rubber magazine end caps as well. thanks! edward
  3. Thanks guys! I appreciate the feedback. I'll likely make a new trailer after everything has gone through final "color" correction and such. I haven't submitted to festivals yet, so no telling where it will have it's official festival premiere.
  4. Shot on Super 16. inspired by the true story of the "Brides of Christ" religious cult from turn of the Century Corvallis Oregon.
  5. I love black and white reversal and perhaps would have gotten what I wanted from it. I didn't do any tests to find out. I guess I was scared to shoot my first feature on reversal. Maybe that's foolish. I don't know. the film was scanned on a spirit telecine.
  6. Thanks Dave. The lens effect is from a lens baby 2.0 for a contax yashica mount. My D.P. and I wanted to use it in a more subtle way than the lens baby is normally used. This still is a little more "extreme", but since this particular lens baby was made for 35mm camera's it had a more subtle effect for a 16mm camera. For most of our uses, we just wanted it for a slight blurring around the edges of the frame for a more old time photography look. I like the way it looks with grainy film, personally. I wanted black and white but I had several indoor shots in the film that were supposed to appear as lit by candles and oil lamps. I wanted the option of a higher speed but I wasn't into the look of tri-x for the film. I wanted a grittiness, but I wanted a nice sharp clean image that would translate well to big screen projection. I did a test with 7212 bleach bypassed with a one stop underexposure and loved the way it looked desaturated. It was just the look I had hoped for. With the 1 stop under exposing, I could work at 200ASA and If needed, go with 7217 under 1 for a 400ASA. We ended up shooting only one roll of 7217, but the option was always there, which it would have not been with black and white stock. I like the fact that the bleach bypass retains the silver grain. When desaturated, I think it resembles actual black and white stock more than normal color neg desaturated, which seemed too smooth to me in my tests. I thought the B.B. 7212 had a very nice grain that, for me, was pleasing more to the eye than black and white 16mm stock. Luckily, my D.P. was equally charmed by it. I love black and white stock and probably would have used it if the film were shot in 35mm. I tried some tests with 7231 pushed, but was not happy with the graininess of it. I think the B.B 7212 gave us a nice balance of film speed, sharpness, old film look, and grit. Also, as I mentioned before, the option of a 400ASA with 7217 was always there if needed, with a similar result. My Director of Photography was Scott Ballard. We had a very similar vision for the film and worked well together. It was hard for me to let go of my camera and trust someone else, but I'm glad I did.
  7. Here are some stills. This film was shot on 7212, bleach bypassed. Desaturated in post. Shot on an Eclair ACL II with adapted Zeiss SLR lenses. ------------------ epdavee.wordpress.com
  8. oops.you're right, I meant double-x. sorry thanks for clearing that up.
  9. Thanks Saul. I was wondering specifically about 7231 plus-x neg, not reversal. I've got a black and white S-16 project coming up that I originally wanted to shoot on 7231 for a more classic film feel, but I also have several night time and indoor scenes, and limited lighting gear, I will probably go with all color neg as you say, but I can't help but obsess about the real deal. Hard to let go. I like a little grit and harshness for this but even plus x in 16mm is perhaps a little grainier than I'd like, so tri-x, though I love both stocks, is certainly out of the question for this. I will do some more tests! thanks, Edward
  10. Despite significant differences in appearance, It seems it's fairly common (though usually with some reluctance) for folks to shoot plus-x for outdoor and tri-x for indoor scenes, cutting between the two within the same project. I'm wondering if anyone has used a high speed color neg desaturated in post with a DI, instead of tri-x for indoor shots. Would this perhaps, with further contrast adjustments, potentially be a closer match to the look of plus-x? I suppose it would be unusual to see lower light situations having less grain and a smoother look than the daylight footage since that's the opposite of what we're used to, but I wonder how the two would work together. Would the difference in grain size and quality be more or less distracting than the differences between plus-x and tri-x? basically I'm just wondering if it's possible to get a desaturated color neg such as 7219/5219, to match the look of plus-X neg better than tri-x does. Hope that makes sense.
  11. thank you. I was especially exited about the lumberjack/ tomato soup red of his jacket.
  12. thanks Toby. the transfer was done at Downstream Media here in Portland Oregon.
  13. A Mentos commercial? Whoa, not cool man. not cool. just kiddin'.
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