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Adam Frisch FSF

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About Adam Frisch FSF

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  • Birthday 07/24/1971

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  • Occupation
    Cinematographer
  • Location
    Los Angeles, USA
  • Specialties
    Swedish cinematographer now in Los Angeles.

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    http://www.adamfrisch.com

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  1. Yes, it has gotten damaged somehow, probably by just ground radiation and being stored in a position where it created this repetitive pattern. But it's also worth remembering that this particular stock was well hated and was grainy already when it was brand new. Kodak discontinued it after just a few years and it must have been their shortest running stock. Worth noticing is also that sensitivity actually goes down - it's not just that the base fog increases. Exposed correctly, they still look underexposed, so they basically get less sensitive with time.
  2. You might want to have a look at a few very rough tests I did with my old short ends. I deliberately chose the oldest stock I could find, a short end from 1996 that had been stored pretty badly and in room temp or hotter. I was looking at fog levels and grain mainly, so not a very sophisticated test setup. https://vimeo.com/231496214 Here I also tested the very short-lived 800ASA 35mm Kodak stock, and you can see it held up pretty bad. But you can also tell that both stocks respond well to over-exposure to suppress grain and fog. A rule of thumb is to add 1 stop for each decade of film age. https://vimeo.com/231494580 You could not use this kind of film for anything where a stable or professional outcome is needed. But you could certainly use it for shorts, experimental stuff or perhaps black and white stuff - there the grain and fog almost add's something.
  3. Unfortunately, I don't think we're going back to work soon here in the US. Recent happenings leads me to believe this. Unionized filmmaking is at the moment uninsurable - and from what I can see it will remain so until governmental gap support formulates. There is no way this will resolve itself in the market sphere by itself.
  4. Another DP that used a lot of Blondes and Redheads is/was Eduardo Serra ASC. He basically had a truckful of those and not much else. I won't deny that some of the newer lighting units like LED's are very useful, but at heart I'm a very old school lighter that likes to use old tungsten lights. On ever job I do I always bring Parcans (they are incredibly useful and very cheap), at least a few Mole zip softlights and usually one or two open face lights, too. With very basic and cheap units you can achieve a lot.
  5. I, unfortunately, think this will be a long time for all of us. 120000 IATSE members unemployed already here in the US. All freelancers. How long before they can no longer pay for their mortgages? How long for them to fall out of the union health care system (we need 400hrs/6month period to qualify). By May with no work, half of them are already there, most likely and it will snowball from there. 120000 unemployed IATSE
  6. On the plane back from a job I finally caught A Cure For Wellness. I can understand that it didn't connect with an audience, but it is simply one of the most spectacularly shot and designed movies I've seen recently. I'll go even further and say it's for sure one of the best shot and lit films in the last 10 years. And I say this knowing the competition from all the awarded work of the usual suspects. Bojan is just one of those DP's who go pretty much unnoticed from year to year, never gets big nominations, never gets talked about much, but just turns in stellar work consistently. Go back and look at films like The Ring, Lone Ranger, Mr & Mrs Smith, Pirates - all world class camerawork and lighting. I wish sometimes this industry would award or celebrate some of this talent out there rather than alternate the admiration between the usual 3-5 suspects. But we all know cinematography is context - you can have the best cinematography in the world, but if it's not in a film that connects or breaks out, it doesn't matter. Likewise, pretty ugly movies can win for best cinematography, if it's a great film. A Cure For Wellness should have for sure had a nomination for best cinematography in 2017. Especially since it was a very weak year for nominations in that category. If you haven't seen it, see it for the cinematography alone.
  7. Darius has himself mentioned that he gets bored with beautiful shots, so he's always interesting to watch. He serves story these days. I get a sense that a lot of people want him to replicate the groundbreaking work he had when he did Seven and Delicatessen etc, but he wants to move forward. I respect that and can feel the same thing many times. "Beautiful cinematography" can be a trap. I thought Uncut Gems was good. Lighting is very real, even "ugly" at times, but it feels absolutely right for film. I love the long lens stuff. Nice to see after so much wide stuff the last decade.
  8. Well, if the discussion expands to why some make it and some don't, I have to mention one big elephant in the room: social skills. I don't know how many PA's or new-to-the-business people I've met where I after 5 minutes can tell they won't last. Not because they're not good people at heart, but they just lack social skills, or don't have an ease with people and can't see spontaneously what needs to be done. Intuitive, I suppose. Add a little laziness to it, and you're sure to not last long. I shoot in all corners of the world and one thing that always strikes me is that they all have social skills and play well with others, they're collaborative and they're hard workers. You have those three attributes - you'll make it.
  9. Owning gear has always been a trap, in my opinion. Do you want them to hire you because you come with "free" gear, or because you're good cinematographer? Here's the followup to that, if they do hire you because you come with gear, then they're loyal to that "free" gear, not to you. So when they get the bigger job with the better budget down the line that's much more creative, they'll get the DP that has the good reel, not the DP that has gear. Now, I'm not saying you can't get ahead with a little gear in the beginning. But it shouldn't be viewed as the ticket into it - your talent is that.
  10. I personally find that I gravitate towards the "human eye" field-of-view lenses. A 32mm and 40mm are pretty much the only lenses I need. Twist my arm and add the 50mm, too. That said, I can respect and see the beauty in wide-angle photography at times, it's just not something that I gravitate towards personally. I honestly think that any lens under 30mm is not very flattering on faces. I will use a 25mm or a 27mm for wider vistas, or an establisher, but I tend to avoid them for any closer work. Even the 32mm is on the edge for faces at times - I find the 40mm is the perfect balance. Long lenses I love - I grew up with Tony Scott and Adrian Lyne films after all, so I'm well into that aesthetic. It's kinda out of fashion these days to use telephoto lenses, but I do enjoy that look and will try to work it in when I can. There's something absolutely magical about shooting "wider" images by backing the hell off and using a long lens and just flattening it like a painting.
  11. Simple. If you shoot away from the windows and into the wall as background, just augment. Maybe use nothing but neg, maybe use a bit of artificial to help the daylight feel along. Sidelight, motivate from window. Shoot into the window as background and now it needs a little more attention. Depending on stylistically what you want (is it OK play characters as compete silhouettes?), then you need to make choices. What I do in this scenario most of the time (when I can't play silhouettes), is that I pretend that the light hit a wall/floor somewhere. And based on where that hit, that's my bounce/key light on face. It can be a floor bounce (very likely), or a wall bounce. Works great from that motivated standpoint, and you'll have a natural looking scene.
  12. Trailer looks amazing, Jarin. What a dream project for a cinematographer! On the Arris (and I think Panavisions), you can order them with a special black pressure plate. Because of the weak backing on B&W film, what happens when you have bright objects in image, is that the light actually goes through the film, bounces in the chrome plated pressure plate and then re-enters back into film, creating a weird halation and greatly reduces contrast. It's a classic problem when you shoot into light sources. With a black pressure plate this problem is greatly reduced, if not eliminated.
  13. No, I'm not a wide lens lover. They pull me out of a film - too freakish. For me the sweet range is mids - 25, 27, 32, 35, 40mm. That's where it's at for me. I could do an entire movie with just those. But there are times when you must use wider lenses. But I never carry wider than 18mm on a regular job. And I almost never have to break it out.
  14. Yes you can. One of my old Swedish gaffers used to use a C-stand with a flag arm at 45 degrees (and clamped in middle). At the knuckle end he put a 4x4 bounce card, at the pointy, other end of flag arm, he put a little Redhead light bouncing into the card. It was a single stand, moveable soft unit, almost like an umbrella light. Worked well. Today with LED soft units, it's less need for it, but good trick to know.
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