Lars Drawert

@Guy - thanks for the helpful info @Brian - there are two scenes, the first scene (1 person in the back and one person driving) we are still discussing how to do it, the director wants to have the cam inside the car in the position I wrote and then going out of the car without a visible cut, so we are still starting on how and wether this is possible with small budget - the second scene is about to be shot from outside looking into the car (both person in the back) - thanks lars

Hi Brian First thanks for your reply. For the interior shots the cam is supposed to be in the position of the co-driver, paning (thats the idea in script) between the person in the back and the driver. Lars

hello together it would be great if someone could give some advice on what to watch out when shooting a scene inside a car. the first scene has to be shot from inside the car with one person in the back and the driver. the second scene has to be shot from outside looking into the car. when i made a short test this week i saw almost nothing when looking from outside through the window even with a polarizer. so of course i start to be concerned about it now. so, how to control the reflections of the windows (beside using pol-filters)? what is a good starting point on thinking about the lighting? and so on... thank you in advance for any help. greets from germany lars

Hallo together I´m going to shoot a 60min. Documentary on S16mm in Russia. The biggest part will be done on the northern polarcircle on Jennissej-River. My question now is wether somebody already shot in Russia and can share his/ her experience. Did somebody work with the Kodak-Lab in Moscow? Thanks Lars Drawert

Hallo Think I need an advice to have a starting point for testing. I am trying to find out how it is possible to reach a look like at beginning of the 80ies or end of 70ies - colourfilms. We are going to shoot on 16mm- over daytime (hopful with a shining sun) What where the stocknumbers at this time? Unfortunately I only know the numbers of stocks which are available now (started not a long time before 7218 at filmschool). Or how can I come close to that look with todays filmstocks? Thanks for any advice Lars