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Uli Meyer

Short film shot on 35mm

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At the beginning of last year, just before the prices shot up, I bought an Arricam LT and an Arriflex 235, both 3perf.  I decided to shoot a short film to test the cameras. The idea had to be simple, a couple of actors and one location. We shot on Vision 3 200T using Master Primes. Every single shot was storyboarded, we didn't shoot one foot of coverage. Happy to report that the cameras are working...I'd like to share the result.

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Great film! Beautiful shots. I loved the wide of her first line, "I'm delighted of course." Such a brilliant location as well.

How many rolls of film did you shoot?

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1 hour ago, Dan Hasson said:

Great film! Beautiful shots. I loved the wide of her first line, "I'm delighted of course." Such a brilliant location as well.

How many rolls of film did you shoot?

Thanks Dan! We shot roughly 6000 feet.

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Beautifully shot Uli, congrats! What scanner did you use for the DI? And can you tell us more about your light setup?

Great work!

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Wow!!!! This is the type of film I would like to make. I can't say enough to express my appreciation at seeing this touching film. Film (and music, etc) tries to give fleeting glimpses of what life is really all about. You know what? It's got to do with love. But it's sort of mystical. It's almost beyond us.

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Wow! incredible work Uli Meyer. Talk about amazing image quality, cameras, lenses, extremely clean scan, good cinematography, acting and beautifully composed images. I thought the prices going up on film cameras was my imagination, but by looking at your short film I can see why.

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4 hours ago, David Sekanina said:

Beautifully shot Uli, congrats! What scanner did you use for the DI? And can you tell us more about your light setup?

Great work!

Thanks David! The footage was scanned at 4k by Kodak London. Not certain which scanner they used.

Before the shoot, I made notes about the position of the sun throughout the day. All shots involving the artist on the bench for example were done from 3pm onwards because if there was to be sunshine, it was not going to hit that spot for the rest of the day. Controlling  the lighting was easier by blocking and adding light . For the shots of the woman on the bench we used a Molebeam. The lighting was done by two very talented young DPs. Nathalie Pitters on the day we shot Emma on the bench and the slow motion bits and Kupa Warner on the other days.

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Nice - looks great, the location was perfect and the edit was nicely paced. The twist landed at about the right time - I only guessed it about 30 secs before it was revealed.

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18 hours ago, Phil Connolly said:

Nice - looks great, the location was perfect and the edit was nicely paced. The twist landed at about the right time - I only guessed it about 30 secs before it was revealed.

Cheers Phil, thank you for your comment!

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Congrats Uli! 

Just watched it, absolutely gorgeous! (with a lovely twist and soundtrack too) I feel like most of the 35mm features I've seen in cinemas recently have felt almost indistinguishable from the digital ones. But you really "feel" the analog in this piece. And it feels wonderfully appropriate.

Did you do anything in particular with the processing, or rating of the stock?

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44 minutes ago, Mark Kenfield said:

Congrats Uli! 

Just watched it, absolutely gorgeous! (with a lovely twist and soundtrack too) I feel like most of the 35mm features I've seen in cinemas recently have felt almost indistinguishable from the digital ones. But you really "feel" the analog in this piece. And it feels wonderfully appropriate.

Did you do anything in particular with the processing, or rating of the stock?

Thanks Mark, much appreciated!

We used Vision 3 200T stock, straight forward processing at Kodak London. The footage was shot 3perf and then cropped top and bottom, which helps let the analog shine through. When color grading each shot, I had a specific red/green palette in mind and let the rest fall into place. This resulted in a slightly off-realism look.

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On 3/12/2019 at 10:28 AM, Uli Meyer said:

Thanks Dan! We shot roughly 6000 feet.

Jesus, you have to have $$ to run with the big boys!

Beautiful work!

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On 5/27/2019 at 12:46 AM, Uli Meyer said:

Thanks Mark, much appreciated!

We used Vision 3 200T stock, straight forward processing at Kodak London. The footage was shot 3perf and then cropped top and bottom, which helps let the analog shine through. When color grading each shot, I had a specific red/green palette in mind and let the rest fall into place. This resulted in a slightly off-realism look.

You succeeded!

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On 5/28/2019 at 4:33 PM, Daniel D. Teoli Jr. said:

You succeeded!

Thanks Daniel!

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