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A hard question. I doubt I would do things very differently if I were to shoot on film again. Yes, a little more light for night shoots but I wouldn’t think much else would change. I don’t agree that film requires more hard light. I might even suggest the reverse is true but projects are always different so it is hard to judge that.
Perhaps some lab work is a little less consistent than it might have been but there should be no issues with scanning.
One last comment from me. I would always shoot a grey card for film and in the early days of digital capture. But as David says, we now use a specific LUT and what I see on set will translates exactly the same on the colorists screen. For that reason I see no need for a colorist to ‘correct’ footage to match a spec..
That is simply when a lab warms up the developer to a temperature that is above the optimum. This makes the process faster and labs would favor this if they had a large quantity of footage that needed development in a fixed time frame. When you ‘hot develop’ a negative, which I have often done with B&W stills film, there will be an increase in grain. There was a lab that would often change the temperature of their developer from day to day, which was quite noticeable on the dailies they produced.
I had asked Arri if it were possible to create a digital camera with an optical viewfinder as the electronic finders were then so tiring on the eye and really not that good. The XT Studio was the result. There is no alternative to an electronic finder for any small digital camera so the optical option simply no longer exists.
It looks like you should be able to hide your reflections pretty easily in a space like that. A simple black square with a hole in it for the lens can get you out of trouble. You might find the light being in shot is more of a problem. Perhaps bouncing a lamp off the ceiling would be more forgiving and you could use a silver reflector to ‘focus’ the bounce if necessary.
The Coen Brothers wanted the ‘old film’ to introduce “A Serious Man’ so 1:33 gave that feeling. Otherwise, the film felt quite intimate and naturalistic. I suspect that is why we chose 1:85.
Some directors just like to shoot 2:35 and that is just a given. Personal choice. Nothing profound.
Why? I cant really explain that. The choice of aspect ratio comes after discussions with the director.
Yes, 2:1 seems quite popular but it is probably only a coincidence that the ‘right’ projects came along.
If you have another idea please can you let me know. Given the camera had to move across two tables and between characters we could think of no alternative to a Technocrane. Well, we could have rigged the camera on a wire, which was my first thought, but this might have been even more complicated.
I was using a series of bare 250 watt bulbs mounted on some circular aluminum strips that I had made up for this purpose. I would surely think that there is a simple LED alternative in this situation. For instance, I wrapped some ribbon strip around a circular tube to construct a small soft multi-directional source which would work quite well to augment a firelight source. The advantage of the quartz bulbs was that they could be dimmed down to a matching color temperature and, being more resistant to heat, they can be placed quite close in to a real fire.
Yes, the Spacelights were gelled with a 1/2 blue and some of the Blondes carried a 1/4 blue. Given the diffusion warmed the light the resulting color was just a little cool, which made sense to me as the camera was set at 3,200K. The lower 2K lamps were a mixture of 1/4 blue and clean. I’m not sure why you are confused about the shot you post as this would have been lit by the pattern of Blondes projected through the diffusion.
I would love to visit Rio again. My first experience of the city was during the 1977/78 Whitbread Round the World yacht race. We made it to Rio on the first day of carnival having sailed from New Zealand via Cape Horn.
That is good advice. The job is stressful and it must be stressful. I find the job only becomes ever more so as you try for a perfection that is unattainable.
Allow others to feel involved in your process even if, in the end, you make all the decisions. Create a quiet and welcoming place for the actors. Without them you have nothing.
Sorry, I thought I had posted an answer already. Glitches I guess!
The main source lighting the center of the road would have been a 10K Fresnel, probably with a 5K to each side of it, rigged on an articulated crane arm. I like to use a multiple of lights as this gives a slight softness to the shadow. The lamps would have had 013 straw as well as 1/2 CTO on them. The two 5K lamps would have either been dimmed down or the intensity taken down with scrims (wires). The backgrounds were probably lit using 5K, 2K Fresnel lamps or/and 2K Blondes and these would have been on high stands.
I would generally use an HMI outside during the day. I don’t remember blacking out the back window but I may have cut some of the light from that direction with a sold set away from the window. I also remember that the sun came out while we were shooting some tight shots so I had the car surrounded with solids.
