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Journey to Zion - Music Video


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Thank you. I shot it on an Eclair NPR(R16) and a Zeiss 10-100 lens. As my routine workflow, 4k scan was done from a 16mm one light lowcon print at Fotokem as I prefer photochemical finish for 16 and 35. Since there is no lowcon print stock anymore, Fotokem processes the regular 83 print stock in ECN2 bath to imitate it. There is no digital color correction so it is as I shot and exposed. I shot it on 7219 and rated the stock at 250 for high print lights for saturated colors and high contrast. Except for a couple of shots on sticks, it was all handheld.

Edited by Giray Izcan
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I tried the DI route as well and was let down each time for some reason. It feels like trying to recreate a look each time. Of course this is my opinion/preference - not some universal truth by any means. I have my database with different print light values at different ratings for stocks in accordance with gray chart under different circumstances named accordingly, i.e. "Late Afternoon Overcast." So I provide the timer what print lights to use at what sections or an entire roll on camera reports. Then I watch the prints to make sure everything's as I intended and then get the prints scanned. This workflow works for me.

Edited by Giray Izcan
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I admire your dedication to doing it old school.....chapeau...that database des sound very interesting and people in here would like to see that Im sure.....even though it would mean nothing to me as a film photographer principally and not a cinematographer

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Very cool, Giray! I like your style. Your low-con print/scan process sounds like something I would like to try. 

The video has a very 90’s aesthetic, and the dancer reminds me of Jay and Silent Bob vibing outside the Quick-E Mart in ‘Clerks’!

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Haha Jay and Silent Bob... thank you. He is actually the screenwriter Mr. Eszterhas' son. We're working on another concept that we will be shooting soon. This time it will be flat 1:85 on 35. I have to say I gravitate towards the 90's or the early 2000s asthetics before the complete di take over. Of course, doing a di from camera negative is technically superior and gives you a lot more freedom in terms of creating different looks but I prefer a traditional "movie" look where the blacks, the mids and the highlights fall in the right place in accordance with my exposure without having to recreate it from scratch. The next video coming up, due to subject matter - or the vibe I should say, I will shoot for a thin negative to print up. 

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Stephen, the print lights differ from lab to lab to a certain extent. It is usually the best to establish a rapport with a lab using the same printer etc. What I do is that I shoot a gray chart under whatever lighting condition at whatever ASA rating and name the chart accordingly to make it easier for being able to keep track later on. When the same conditions and creative ASA rating applies, I ask for the particular print lights to be applied instead of having to shoot a color chart again. Although there may be slight variances due to different film batch etc., in that case, I may ask for a corrected answer print. 

Edited by Giray Izcan
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