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Getting the right look for my next film . . .


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#1 Steven J

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Posted 19 February 2007 - 03:43 PM

Hi!

I am hoping to start my next short film in the next couple of months - i'll be shooting on Kodachrome Super 8mm with an Anamorphic lens (if I can find one in time! :blink: ) and i'm looking for some advice before I start my lighting tests!

While my first love is Directing - cinematography follows closley behind! Again i'll be taking on the role of DP as well - although I'll certainly need to hire some extra help (ie. gaffer). The image below (a still from the Spielberg movie 'Always') is the best representation I have found so far of what kind of look i'm going for. Mostly I love the backlighting, the rim of light around the heads - and the amber glow. You could say I want to get the magic hour aesthetic - but over the whole film (well, the daytime scenes at least). I can't say I have come across much else in the way of insperation. Although I have been impressed by the work of Robert Richardson, I can't pinpoint a perticular scene or film which I can refer to. I know that there are quite a few people on here with more experience and know-how than myself - and i'd love to hear your suggestions on filters, lights, gels - whatever!

Thanks for your time everyone!

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#2 Matthew Buick

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Posted 19 February 2007 - 04:09 PM

Hi, Steven.

You'll have to change your display name to your full real name, otherwise this thread faces deletion.

Good luck. ;)
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#3 David Mullen ASC

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Posted 19 February 2007 - 04:10 PM

First, Steven J, you need to edit your Display Name (go to My Controls) to be a real first and last name, as per the forum rules that were listed at the top of the instruction page when you registered.

Creating warm strong late afternoon backlight can be done in many ways, although on something as slow in speed as K40T, which is 40 ASA in tungsten and thus only 25 ASA with the 85 correction filter for daylight (assuming you can even find processing for Kodachrome) I doubt you'd have the lighting package required -- I'd get some reflector boards and reflect real sunlight into the room, maybe through a 4'x4' gel of 1/2 CTO or something warming, or use a warming filter on the camera.
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#4 Steven James

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Posted 20 February 2007 - 04:05 AM

My apologies for not putting in my full name! It's changed now at least. THanks for that last reply Mr Mullen - I do realize I am limiting myself by using K40 - I will do some tests with it - but just in case I did decide to shoot it on another stock, what might be the best way to go? I believe 64t, 200T and 500T and even Velvia 50D are available on Super 8. I naturally thought Kodachrome might be a good choice because from what I have shot in the past - I notice that a lot of images already have a slight orange tint to them (is that the result of the 85 filter?)

Thanks for your advice on an uneasy set up though - of course if I had the funding id shoot on Super 16mm - or something like that!

Steven.
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#5 David Mullen ASC

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Posted 20 February 2007 - 10:13 AM

Are you only doing a telecine transfer and editing and showing on video? Because 200T and 500T are negative stocks.
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#6 Steven James

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Posted 20 February 2007 - 12:01 PM

Are you only doing a telecine transfer and editing and showing on video? Because 200T and 500T are negative stocks.


Thats right David - as much as id like to see my footage projected, it will be easier and quicker to edit on Final Cut and put it out to DVD. Thats the plan at least and pretty much what i did on my last project (although that was shot on reversal). I have shot some 16mm negative before though - I think that was 500T.

Steven.
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Metropolis Post

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Rig Wheels Passport

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