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UK / London PLEASE I seriously need HELP!!!!


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#1 Freya Black

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Posted 15 February 2009 - 04:55 PM

I just commited, at least verbally, to a project that is very important to me.
I'm going to need help badly. It's both exciting and very scary.

Firstly would anyone here be prepared to meet up with me and show me how to load Konvas mags

Secondly I need to shoot some basic tests and wouldn't mind some help there either. It would also be great if someone could talk London labs with me.

Thirdly I expect I'm mostly going to shoot daylight exteriors. I'm used to this somewhat but wouldn't mind being shown some stuff there too, especially as I'm going to be shooting people a lot and I want to get it right.

I'm dead frightened about what I'm throwing myself into but also really, really happy and excited. It's a very weird feeling. I'd really appreciate any help to help me get things right! :)

love

Freya
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#2 James Martin

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Posted 15 February 2009 - 05:19 PM

I just commited, at least verbally, to a project that is very important to me.
I'm going to need help badly. It's both exciting and very scary.

Firstly would anyone here be prepared to meet up with me and show me how to load Konvas mags

Secondly I need to shoot some basic tests and wouldn't mind some help there either. It would also be great if someone could talk London labs with me.

Thirdly I expect I'm mostly going to shoot daylight exteriors. I'm used to this somewhat but wouldn't mind being shown some stuff there too, especially as I'm going to be shooting people a lot and I want to get it right.

I'm dead frightened about what I'm throwing myself into but also really, really happy and excited. It's a very weird feeling. I'd really appreciate any help to help me get things right! :)

love

Freya


Hi,

I too am prepping for my first film shoot on Super16 and have been doing a fair bit of research into labs and the like. Mail me on James@tee2.tk and I will be happy to share my findings.

I also have a few short ends and recans of 35mm which I would be willing to donate. The stock is likely NG but it will be useful to use to learn loading.

Best,
James.

Edited by James Martin, 15 February 2009 - 05:19 PM.

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#3 David Auner aac

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Posted 15 February 2009 - 05:49 PM

I'm dead frightened about what I'm throwing myself into but also really, really happy and excited. It's a very weird feeling. I'd really appreciate any help to help me get things right! :)


Hi Freya,

I'd love to help you on this one but the only thing I can really do is to send you lots of positive energy. I'm sure you'll make it alright! Do you utmost and it will work out. And should you ever need a set of Dedos in Vienna or the like be sure to give me a call!

Cheers, Dave

PS: I know the feeling. And I love it!
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#4 David Rakoczy

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Posted 15 February 2009 - 05:53 PM

Immediately order the book FILM LIGHTING by Malkiewicz. This is an easy read and will be an immense help.. other than that.. hang in there and fake it till you make it... we all did! ;)
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#5 Freya Black

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Posted 15 February 2009 - 05:59 PM

Hi,

I too am prepping for my first film shoot on Super16 and have been doing a fair bit of research into labs and the like. Mail me on James@tee2.tk and I will be happy to share my findings.

I also have a few short ends and recans of 35mm which I would be willing to donate. The stock is likely NG but it will be useful to use to learn loading.

Best,
James.


Big thanks James! :)

The gouge stock would definitely be useful even if it is NG!
I have sent you a mail!

love

Freya
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#6 Freya Black

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Posted 15 February 2009 - 06:04 PM

Hi Freya,

I'd love to help you on this one but the only thing I can really do is to send you lots of positive energy. I'm sure you'll make it alright! Do you utmost and it will work out. And should you ever need a set of Dedos in Vienna or the like be sure to give me a call!

Cheers, Dave

PS: I know the feeling. And I love it!


I feel so full of positive energy I could explode! :)

The re-assurance that it will be okay is definitely welcome tho!
So much to sort, but I have done many impossible things in my life.
Somehow I will find a way!
I have to.

Thanks Dave.

love

Freya
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#7 Freya Black

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Posted 15 February 2009 - 06:14 PM

Immediately order the book FILM LIGHTING by Malkiewicz. This is an easy read and will be an immense help.. other than that.. hang in there and fake it till you make it... we all did! ;)


*giggle* I'm beginning to feel like you might have shares in the publisher!
I'll definitely nip in the library and give it a thumbs. :)
I'm planning to use the sun for lighting as much as I can for this one tho.

I can't afford to fake it this time I'm afraid. It has to be right.
Thats why I really want to reassure myself I'm ready before I go into battle.
I'd like to find someone to cast a critical eye while I practice and stuff.

love

Freya

Edited by Freya Black, 15 February 2009 - 06:17 PM.

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#8 David Rakoczy

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Posted 15 February 2009 - 06:34 PM

I have no stock in the book :rolleyes:

... and even if you are only using the sun you are still 'lighting' and everything in the book will be applicable. If you are in charge of exposing the negative, this is the book for you!

As far as 'faking it till you make it'.. well, we all do that all the time. I don't mean a flagrant charlatan approach, however, there is no way to know everything.. especially when you are learning, which, we all should be doing throughout our careers... so just get in there and do it with as much knowledge as you have and make your adjustments as the dailies come in... and don't let them see you sweat :o ........ :unsure:

Establish a relationship with your Timer/ Colorist.. and tell them to be BRUTALLY honest with you.. don't be fooled by 'corrected' footage. That will give you false confidence. Shoot your Color Charts.. tell them to make it look good but call you immediately and tell you what was 'truly' on the neg.. again.. tell them to be brutally honest. You don't need an ego stroke.. you need the truth in order to grow!

The feeling you have in the pit of your stomach can be very unnerving.. later in your career you will long for that feeling... when you have it, you know you are being challenged and are trying something new... you will seek it out!.... kinda like faking it till you make it. ;)

Best of luck!... and skill.
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#9 Phil Rhodes

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Posted 15 February 2009 - 07:12 PM

I have shot some stuff on a Konvas.

I got someone else to load the mags as they're notoriously horrible.

Get some duff stock and do a few (a lot of?) dry runs.

P
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#10 James Steven Beverly

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Posted 16 February 2009 - 02:42 AM

I just commited, at least verbally, to a project that is very important to me.
I'm going to need help badly. It's both exciting and very scary.

Firstly would anyone here be prepared to meet up with me and show me how to load Konvas mag


Piece o' cake, baby, here is a tutorial:

http://konvas.org/ho...nvas-1m-2m.html
http://konvas.org/ho...era-manual.html

Also If you'll email me, I'll send you a word document I copied from the now defunct Commiecan site on How to load the dreaded Konvas mag.

(ALSO, here's how to lube the Konvas mags):

http://konvas.org/ho...-magazines.html

Now this is as you know, the 400 ft mag. If you have Raf's Kodak core adapters for the 200 ft mags (which you also know, limits you to about 170 ft loads), same difference, otherwise you'll have to spool the negative onto the old Russian cores which could be a pain in the ass. Practice first with 35mm leader until you can do it in your sleep first outside the changing bag then inside the changing bag, then load a very small roll of film to use for scratch tests with each mag and run it through the camera just to make you have no problems and if you see no scratches in the emulsion, do some test shots, have the test shot film developed to check focus to see if the back plate pressure is correct (which it probably is) and the lenses are collimated properly and you're ready to go!!

Secondly I need to shoot some basic tests and wouldn't mind some help there either. It would also be great if someone could talk London labs with me.


Labs in London, I'm useless on but tests, you'll want to do the tests previously mentioned as well as test the stock you plan on shooting on with the costumes, lighting and hair and make up you want to use. Film actually can "see" color much differently than our eye does and is much more sensitive to certain light that would be invisible to the naked eye such as UV and IR. Some fabrics actually tend to reflect such light making the fabric look TOTALLY different to the film than to our retina. Although a lot of progress has been made, it's still always a good idea to test when ever possible. Gel and filters can help and hurt the situation. What stock are you planning on using? 5201 if I might venture a guess?

Thirdly I expect I'm mostly going to shoot daylight exteriors. I'm used to this somewhat but wouldn't mind being shown some stuff there too, especially as I'm going to be shooting people a lot and I want to get it right.


Well you could always take Jack Warner's advice, make female star look beautiful no matter what they're going through or what's happening to them. :D

I'm dead frightened about what I'm throwing myself into but also really, really happy and excited. It's a very weird feeling. I'd really appreciate any help to help me get things right! :)

love

Freya


Don't worry about it. The WORST you can do is screw up. Try not to and know that if you do, it's not the end of the world. It'll probably just cost you some time and film. Think of it as a learning experience just try to not "learn" too often and don't learn that particular lesson more than once is all. B)
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#11 James Steven Beverly

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Posted 16 February 2009 - 02:49 AM

Oh, on those focus tests, use a focus chart if you can get your hands on one.
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#12 Stephen Murphy

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Posted 16 February 2009 - 04:54 AM

www.ilabuk.co.uk are friendly to low budget productions and gave good results when i used them recently. Soho Films labs are good too. Deluxe are the best IMO, Not fond of Technicolor :-) best of luck Freya.
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#13 Serge Teulon

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Posted 16 February 2009 - 08:16 AM

Hey Freya,

At ilab, speak to Nigel. Really nice guy and always willing to give any technical advice that he can.

Where are you shooting and when?
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#14 Freya Black

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Posted 16 February 2009 - 09:36 AM

Hey Freya,

At ilab, speak to Nigel. Really nice guy and always willing to give any technical advice that he can.

Where are you shooting and when?


Thats two votes for ilab. It's the first I've even heard of them! Thanks for the link Stephen. :)

Hiya Serge, I'm planning to actually shoot over the summer in London because I'm hoping I can get cheap accomodation then. I'm in the very early stages tho which is why I'm freaking out so much (apologies everyone).

I'm thinking I might plan a whole shoot of some kind before then, just so I can learn what ways I might screw up and not to do them. Maybe I can even shoot a bit of it earlier somehow I'll have to think about it.

I'm thinking of going to the BSC event somehow, so I might arrange to do something basic about that time too but I'm not sure of the date for that yet.

I've not shot 35mm at all, ever. I used to shoot a lot of film nearly 3 years ago but nothing since. I got great results but they weren't the same kind of films. I'm probably being overly nervous however.

I'm slightly calmer today but still kind of shaky.

Thanks so much to everyone so far! This is going to be an amazing journey. :)

love

Freya
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#15 Freya Black

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Posted 16 February 2009 - 09:58 AM

I have shot some stuff on a Konvas.

I got someone else to load the mags as they're notoriously horrible.

Get some duff stock and do a few (a lot of?) dry runs.

P


Thanks for the reply Phil!
You were one of the people I hoped might have loaded Konvas mags. :( so thats kind of a shame, but yes I'm going to take up the offer of gash stock above and practice a lot! :)

love

Freya
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#16 Phil Rhodes

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Posted 16 February 2009 - 10:06 AM

I have. Once. Never again.

The problems are twofold - first, it's not the world's simplest mag, and second, the feed and takeup are both in one compartment, so you have to do the whole job in the dark, including loop forming.

P
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#17 Serge Teulon

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Posted 16 February 2009 - 12:58 PM

Hey Freya,

I'm based in London so if i can be of any help then please don't hesitate..... :)
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#18 Freya Black

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Posted 16 February 2009 - 02:16 PM

Labs in London, I'm useless on but tests, you'll want to do the tests previously mentioned as well as test the stock you plan on shooting on with the costumes, lighting and hair and make up you want to use. Film actually can "see" color much differently than our eye does and is much more sensitive to certain light that would be invisible to the naked eye such as UV and IR. Some fabrics actually tend to reflect such light making the fabric look TOTALLY different to the film than to our retina. Although a lot of progress has been made, it's still always a good idea to test when ever possible. Gel and filters can help and hurt the situation. What stock are you planning on using? 5201 if I might venture a guess?


Thanks for all the info Captain Steve! :)

I wasn't planning on 5201, just whatever was in my freezer or I can get together. At the moment I mostly have V2 200T (5 cans I think), which I'm sure will be nice and 3 cans of EXR 50D which will obviously be amazing. There is also some EXR200T if I remember correctly which I'm obviously a little suspicious of, but will be fine for the trippy dream sequence stuff. In fact it has been in my freezer since new (from a London reseller) so might be better than I think so I might use something even nastier for the dream sequences.

However I have just had donated a sealed can of 5201!!! (Thanks Ian) As you might imagine I'm very excited about that as I've been curious about it for some time and will be perfect for helping with all the daylight exteriors I'm talking of shooting. It also ups my ratio of nice sealed cans of modern slow film vs whatever I can scrounge of a more dubious nature. ;)

This is obviously going to be a very low, well quite frankly no budget film. I mean this is England. ( I think Phil has mentioned once or twice what things are like here so check the archives) ;) It's going to be financially crippling for me especially now the pound is so low and I have to use U.K. based labs etc. I'm okay with that tho and I will be okay with whatever compromises have to be made. It will still be very beautiful I'm sure.

So far things are obviously going fantastically well and I've got a big smile on my face here.

love

Freya
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#19 James Steven Beverly

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Posted 17 February 2009 - 03:55 AM

No problemo, chica. Here also read this:

http://konvas.org/ho...the-konvas.html

if you haven't already. You need to set the claw when you mount the mag onto the camera. Just FYI.
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#20 Bruce Taylor

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Posted 25 February 2009 - 04:07 PM

if you haven't already. You need to set the claw when you mount the mag onto the camera. Just FYI.


Enough about the dreaded Konvas mags!

They aren't that hard, you just need to get used to them, and it really doesn't take that long. I suffered the same anxiety until I actually started loading them. Once you get the habit down, it's really a no brainer. Steve posted the same links I used. Just give yourself plenty of time to practice before the shoot and you'll be fine.

When you're practicing, be sure to mount it and run it on the camera before you give yourself a pat on the back, it is not difficult to have it "look" right but be threaded backwards on the lower sprocket, I did that any number of times until I got it down. Like Steve said, inch the movement to have the claw protruding slightly before you mount the mag, then inch it forward to be sure you have it engaged with the film. Also, I was having a problem with jitter at the beginning of a mag and someone told me to run a few moments at 8fps before going to full speed. That made the jitters go away.

I rent my Konvas out and I have shown a lot of people how to load the mags, they all "get it" and produce great looking footage.

Good luck,

Bruce Taylor
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