sinisa.kukic

I did something similar to this a few years ago with a bolex and a intervelometer. shot a car driving down the road from a car driving along the side of it. i did one second exposures. took the film to optical printer and cross disolved through each of the frames. it looked interesting but not the same thing that all of you are talking about. sinisa

Hi Bryan, Thanks for the response. I'm interested. How much do you have? thanks Sinisa Old film stocks are like tube amps, or vynil records. They have so much character, and make all the new stuff look too clean and "regular". Film look was always about anomalies and limitations. By fixing anomalies and expanding limitations, film manufacturers are taking the film look out of film. i love the sound of old records. so organic. i'm not a fan of the new vision 2 stuff. just a personal thing. i like grain. i guess you can always push the new stocks.

Hi. I'm looking for old 16mm or 35mm color film stock. Recans, short ends, anything. I'm trying to piece enough stock together for a 30 min experimental film. I know I can get cheap stock from Kodak with my student discount but I like the look of old stock especially if it's been mistreated. Willing to pay for the film (student budget). Let me know if you have some cans in your fridge and you need to make room for food. Thanks Sinisa kukic_sinisa@yahoo.com

thank you for your reply. sinisa

Hi. I just bought a 2008 and have a question about the ground glass. Do you only put the ground glass in to focus the diopter and then remove it or do you keep the ground glass in while shooting? If it's kept in while shooting why did they make them removable? Thanks

i shot eterna for the last few projects i did. processed normal, pushed one stop, some scenes even two stops. no red color shift. the colors held up well even with a two stop push. had everything processed at fotokem.

thanks!!!

recipies for disaster is a great books. try doing some rayograms. in the dark on a flat table lay out a some unexposed films. put translucent objects on it. (like found footage, newspaper wetted down with baby oil, old blueprints. thin leaves , the possibilities are endless.) when you have your objects placed flash the table with a flashlight. do it quickly though. then can the film and hand process it or give it to a lab for processing. good luck and have fun

hi. i'm a cinematographer on a 16mm film. i've shot the film on fuji enterna 500. the night scene we used available light and i pushed the stock two stops. to loosely match match the daylight scenes i pushed those one stop. some of the shots in a few scenes we filmed in 6 and 8 fps to be later reprinted to 24 fps. something like what christoper doyle has done in a lot his films. As the cinematographer i chose to do the optical printing as well, since this is a school project with a very limited budget. I've done a lot optical printing in the past when making my experimental films, mostly on the JK103. I'm pretty comfortable with technical aspect of it. And finally to my question. I know when i reprint this to 24 fps i will have a one generation loss. do any of you have a recommendation on which stock i should print to. should i go with a intermediate stock or another camera stock? which one? should i print from the work print or from the negative? thanks for your help. sinisa

hello. Does anyone have a pdf or a hard copy of the gossen ultra spot 2 manual? thanks sinisa

if you decide to not use the film. i am interested in buying it from you. let me know. thanks sinisa

I'm working on a experimental film on a optical printer that has the capability to blow up 16mm to 35mm. I want to take advantage of this. The film is shot on 16mm and I want to step it up so I can do a surround audio mix. Does anybody have old 35mm stock (color). It doesn't matter how old it is. I would actually perfer something that's been abused. Thanks.

Hi. Student cinematographer here. Just posted my reel online and am wondering if I could get some feedback. Thanks. www.resinifilms.com/sreel.html

David, I've been making films for several years and have recently focused on cinematography. Many of the short films that I've shot have been school projects for first time directors. A lot of them tell me exactly what they want and how they want me to achieve it, leaving no room for experimentation or creativity on my part. Most of the time it's very frustrating. There has been only a few projects that I've worked on that felt like there was collaboration with me and the director. Is this because I've been working with first time directors or is this a normal part of being a DP.

I tested the Reala500D on a late overcast afternoon, available light only. Pushed 1 stop in the lab. I didn't like stock under these conditions. The grain was overwhelming. Maybe I did something wrong. My exposure were on. It was very overcast and the print had a blue tint to it. The skin tones were great but everything else was blue. It had good blacks. Maybe some filtration would of helped with the overcast situation. Any suggestions?

I just tested the Eterna500T 16mm. I was shooting available light night exterior with a small fill from a sun gun. Rated it for 400 and pushed two stops. The grain increased slightly, but I really liked it. Compared to the Fuji demo reel I perfer it pushed. It had decent contrast and the blues from the store front neon lights poped nicely but were a bit of distraction to the eye.