EX1 to 35mm at DVinfo.net

Jurgen Taghon · June 11th, 2008, 08:37 PM

Hello,
A client of my want to shoot a movie with the ex1 and then blow it up to 35mm for theathers.
Do you thingk he would have a good result?
And what should be the workflow?

Thanks jurgen

Matthew Pugerude · June 11th, 2008, 09:52 PM

Check out a Movie called "Once". It was shot with a Z1u. Honestly not the best camera work out there but still a 35mm Blow up.

Jurgen Taghon · June 12th, 2008, 11:07 AM

Can anybody tel a little more about ex1 and blow up to 35mm :)

Darrell Essex · June 12th, 2008, 11:14 AM

http://www.showreel.org/memberarea/article.php?355

Darrell Essex · June 12th, 2008, 11:15 AM

email me at firstcin@hotmail.com and i will send you a pdf file about the movie.

Darrell Essex · June 12th, 2008, 02:04 PM

also, go to http://www.reel-show.tv/
sign up, it's free, then click on hardware reviews on the right side and you will see 2 storys about the EX1.

David Lorente · June 12th, 2008, 05:16 PM

A few years ago we made several commercials for exhibition in local theaters. We shot them in Betacam SP, and they looked good when transferred to 35 mm film, though the limited video latitude and interlacing artifacts where still visible.

Now, when I compare Beta SP shots with EX-1 shots, I am just amazed of "how could I have been working for so long time with such a poor equipment?". So, by logical deduction, I think a 35 mm transfer from EX-1 footage will look VERY GOOD. Anyway, as long as the camera work is well done, I'm sure the average viewer won't be able to tell if a film was shot with a Panavision 65 or with an EX-1...

Patrick Williams · June 12th, 2008, 10:39 PM

You will want to shoot at 24p to get a frame for frame match on film. I don't know what you're editing on, but Final Cut Pro will let you output the edit as either a Quicktime movie or as a sequence of frames(tiff files for example).

Brian Drysdale · June 13th, 2008, 07:22 AM

Quote:

Originally Posted by Matthew Pugerude

Check out a Movie called "Once". It was shot with a Z1u. Honestly not the best camera work out there but still a 35mm Blow up.

Seemingly, the director decided that they shouldn't use any lighting.

Chris Leong · June 13th, 2008, 08:12 AM

Well, using existing light isn't quite the same as not using any lighting at all... the technique of substituting photo lamp bulbs into regular lamp fixtures has been a staple of cinematographers for quite a while now.

Chris Leong · June 13th, 2008, 08:14 AM

Plus the EX1's low light response is way enough for most existing light situations. So, mostly, if you can see it, you can shoot it.

Brian Drysdale · June 13th, 2008, 10:00 AM

Quote:

Originally Posted by Chris Leong

Well, using existing light isn't quite the same as not using any lighting at all... the technique of substituting photo lamp bulbs into regular lamp fixtures has been a staple of cinematographers for quite a while now.

Lighting in this case using film lights to "light" the film. However, I wouldn't count using photofloods as existing light either, having used them when shooting 40 ASA Kodachrome 8mm film many years ago. Useful tools, but perhaps less needed with modern high speed sensors and film stocks, even 100 watt bulbs can be too much at times.

Danny Hidalgo · June 13th, 2008, 10:13 AM

I attended a discussion at HDExpo in Chicago last week with guest speaker Bryan Carroll (Collateral, Miami Vice, Public Enemies.) He suprised us by saying 97% of Public Enemies was shot on the F23 with some of the remaining 3% being shot on... You guessed it, The Sony EX1! He stated that people forget the second part of the equation when capturing with the EX1, the deck you capture to. They used an SRW1 deck ($125K) to capture to, using the EX1 as the "police cam" for obscure and tight shots. Still cool to hear from him who is working with Michael Mann on Public Enemies right now.
Peace and Blessings,
Hidalgo

Dennis Joseph · June 13th, 2008, 10:33 AM

Quote:

Originally Posted by Danny Hidalgo

I attended a discussion at HDExpo in Chicago last week with guest speaker Bryan Carroll (Collateral, Miami Vice, Public Enemies.) He suprised us by saying 97% of Public Enemies was shot on the F23 with some of the remaining 3% being shot on... You guessed it, The Sony EX1! He stated that people forget the second part of the equation when capturing with the EX1, the deck you capture to. They used an SRW1 deck ($125K) to capture to, using the EX1 as the "police cam" for obscure and tight shots. Still cool to hear from him who is working with Michael Mann on Public Enemies right now.
Peace and Blessings,
Hidalgo

I was actually on the set in Lincoln Park while they were filming. I can confirm that they were filming with a bunch of F-23's and I did see them bring out an ex-1. If I am not mistaken, I thought the footage they shot with the ex-1 was for dailies or reference, and not actual footage to be used in the movie. If it will be actual footage, that's awesome.

I was at the HD expo as well but attended the XDCAM EX workshop which was not bad.

Chris Leong · June 13th, 2008, 01:26 PM

Brian
Tell me about it.

Most of my tungsten instruments are 1Ks and 2Ks, and I've had to put 500W or 300W bulbs in them since moving to the EX1, especially indoors.

Bought a load of smaller Fresnels (100-300W range) and also them tube-shaped cool light bulb thingies (note the sohpisticated technical term here, the proper word escapes me for this second) - they seem to work great too these days...

I did a courtyard night basketball scene with a single 2K high up and to the rear of the court, and four Mylar mirrors as filler with 4 people "operating" the reflectors. For the reverses I had another 2K set slightly lower on the other side and everybody just moved around.

Don't think I could have done that in the good old days...

June 11th, 2008, 08:37 PM	#1
Jurgen Taghon Regular Crew Join Date: May 2008 Location: Quito Ecuador Posts: 37	EX1 to 35mm Hello, A client of my want to shoot a movie with the ex1 and then blow it up to 35mm for theathers. Do you thingk he would have a good result? And what should be the workflow? Thanks jurgen

June 12th, 2008, 11:14 AM	#4
Darrell Essex Regular Crew Join Date: Nov 2004 Location: kelseyville, ca Posts: 123	http://www.showreel.org/memberarea/article.php?355 __________________ darrell

June 12th, 2008, 11:15 AM	#5
Darrell Essex Regular Crew Join Date: Nov 2004 Location: kelseyville, ca Posts: 123	email me at firstcin@hotmail.com and i will send you a pdf file about the movie. __________________ darrell

June 12th, 2008, 02:04 PM	#6
Darrell Essex Regular Crew Join Date: Nov 2004 Location: kelseyville, ca Posts: 123	also, go to http://www.reel-show.tv/ sign up, it's free, then click on hardware reviews on the right side and you will see 2 storys about the EX1. __________________ darrell

June 12th, 2008, 05:16 PM	#7
David Lorente Regular Crew Join Date: Dec 2007 Location: Cuenca (Spain) Posts: 92	A few years ago we made several commercials for exhibition in local theaters. We shot them in Betacam SP, and they looked good when transferred to 35 mm film, though the limited video latitude and interlacing artifacts where still visible. Now, when I compare Beta SP shots with EX-1 shots, I am just amazed of "how could I have been working for so long time with such a poor equipment?". So, by logical deduction, I think a 35 mm transfer from EX-1 footage will look VERY GOOD. Anyway, as long as the camera work is well done, I'm sure the average viewer won't be able to tell if a film was shot with a Panavision 65 or with an EX-1... __________________ Wire telegraph is a kind of a very, very long cat. You pull his tail in New York and his head is meowing in Los Angeles. Radio operates exactly the same way, but there is no cat.

June 11th, 2008, 09:52 PM	#2
Matthew Pugerude Regular Crew Join Date: Nov 2005 Location: Redmond, Oregon Posts: 173	Check out a Movie called "Once". It was shot with a Z1u. Honestly not the best camera work out there but still a 35mm Blow up.

June 12th, 2008, 11:07 AM	#3
Jurgen Taghon Regular Crew Join Date: May 2008 Location: Quito Ecuador Posts: 37	Can anybody tel a little more about ex1 and blow up to 35mm :)

June 12th, 2008, 10:39 PM	#8
Patrick Williams Regular Crew Join Date: Dec 2004 Location: Los Angeles Posts: 52	You will want to shoot at 24p to get a frame for frame match on film. I don't know what you're editing on, but Final Cut Pro will let you output the edit as either a Quicktime movie or as a sequence of frames(tiff files for example).

June 13th, 2008, 08:12 AM	#10
Chris Leong Major Player Join Date: Mar 2005 Location: Los Angeles CA USA Posts: 507	Well, using existing light isn't quite the same as not using any lighting at all... the technique of substituting photo lamp bulbs into regular lamp fixtures has been a staple of cinematographers for quite a while now. __________________ "The content, not the container."

June 13th, 2008, 08:14 AM	#11
Chris Leong Major Player Join Date: Mar 2005 Location: Los Angeles CA USA Posts: 507	Plus the EX1's low light response is way enough for most existing light situations. So, mostly, if you can see it, you can shoot it. __________________ "The content, not the container."

June 13th, 2008, 10:13 AM	#13
Danny Hidalgo Regular Crew Join Date: Nov 2005 Location: Lockport, IL Posts: 30	interesting tidbit... I attended a discussion at HDExpo in Chicago last week with guest speaker Bryan Carroll (Collateral, Miami Vice, Public Enemies.) He suprised us by saying 97% of Public Enemies was shot on the F23 with some of the remaining 3% being shot on... You guessed it, The Sony EX1! He stated that people forget the second part of the equation when capturing with the EX1, the deck you capture to. They used an SRW1 deck ($125K) to capture to, using the EX1 as the "police cam" for obscure and tight shots. Still cool to hear from him who is working with Michael Mann on Public Enemies right now. Peace and Blessings, Hidalgo

June 13th, 2008, 01:26 PM	#15
Chris Leong Major Player Join Date: Mar 2005 Location: Los Angeles CA USA Posts: 507	Brian Tell me about it. Most of my tungsten instruments are 1Ks and 2Ks, and I've had to put 500W or 300W bulbs in them since moving to the EX1, especially indoors. Bought a load of smaller Fresnels (100-300W range) and also them tube-shaped cool light bulb thingies (note the sohpisticated technical term here, the proper word escapes me for this second) - they seem to work great too these days... I did a courtyard night basketball scene with a single 2K high up and to the rear of the court, and four Mylar mirrors as filler with 4 people "operating" the reflectors. For the reverses I had another 2K set slightly lower on the other side and everybody just moved around. Don't think I could have done that in the good old days... __________________ "The content, not the container."