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Found 7 results

  1. Hello everyone, If this has been covered in a previous post please link, I was unable to find much on a few cursory searches. I am requesting advice or suggestions for a good lab who I can send Super 8 cartridges to for processing, telecine, and most importantly good quality post and colour grading. I am based in the UK (London). Normally I rely on someone local who hand-process the film and does all the post for me. I have always been very happy with his work, but I'm interested to see what kind of results I can get from a 'lab'. I am aware of Andec in Berlin ( andecfilm.de ) and
  2. 27-inch iMac with Retina 5K Display Is this a good move? The base model is about $2300 and while I am doing full HD now, I plan to upgrade to 4K at some point. It's not for a job, but I want a powerful processor and if I can use the cloud and/or a seagate external HD for storage, Perhaps this will do nicely? 3.4GHz quad-core Intel i5 and an AMD Radeon Pro 570 with 4GB video memory. Comes with 8GB of RAM as standard, upgradeable to 32GB. Comes with 1TB hard drive on the base model; up to 2TB Fusion Drive on the high-end model. Thanks! dk
  3. Struggling to find any information online about grading a 16mm black and white transfer. I have done grading work but would love some tips on grading 16mm transfer specifically black and white. Any resources would be appreciated.
  4. Hello everyone, My goal for writing this post is to get a better understanding of what goes into achieving a "well balanced" shot. For clarity, I'll lay out the main factors which I believe contribute to the composition of a shot. These are: Physical camera and lens: The desired look and feel of any shot is obviously constrained by the physical tools in use (to an extent). Shooting with different settings on the camera can also either add or take away from a certain look that may be desired. Lighting: I'm under the impression that lighting can make or break a shot, regardless of how ex
  5. Hi guys, After watching the excellent THR cinematographers roundtable, I feel compelled to draw more attention to one of the key issues they discuss - the lack of control of the final image in todays modern world of different screens and projector standards. I've been lucky enough to have a few films I've shot recently coloured by Rob Pizzey and Adam Glasman at Co3 in London and we've achieved results I've been delighted with in their colouring sweet, both in the P3 space on their projector, and in Rec709 on their Dolby monitors. The problem however, is when we output to home deliv
  6. Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (
  7. Hi, I have a couple of questions for our next (student) short we will be shooting in the first half of April. At first we wanted to go 16mm (anamorphic), but it's quiet expensive for us. And wide angle anamorphic is a problem with 16mm. We're still thinking about it though. But it's probably going to be the digital way. Now the short is about half and half daylight and nighttime. Probably a bit more at daylight. We're thinking about renting a Red-epic since it's a lot cheaper (than an Alexa). But I'm a bit "scared" for the nighttime shots with the epic. We will be passing neon street
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