FILM PUSHED AT 2000 ASA

PANDORUM(2008) Directed by Chris Alvart cinematography by Wedigo von Schultzendorff BVK was shot on Kodak Film stock Vision 2 500T 5218 70% of the films exposure is rated at 2000 ASA .Filmed with Super 35,Spherical Master Primes and Arriflex 435 film cameras


HEAT(1995) Directed by Michael Mann cinematography by Dante Spinotti ASC AIC, was shot on Eastman EXR 500T 5298 film stock the exposure is rated at 2000 ASA.Filmed with Cine SL-35 Camera, Panavision Panaflex Platinum Camera using lenses Panavision Anamorphic Super High Speed Lenses, Panavision E Series Anamorphic Lenses and Panavision Primo Anamorphic Lenses.

 

Force processing and Flashing ,Force Processing is also called pushing, is the more common of the two. The easiest way to explain this is that if you find yourself in a situation where you don’t have
enough light, you can underexpose the film and then ask the lab personnel to “push”it. They would leave the file in the developer longer, overdeveloping it. The staff atmost labs have substantial experience with this and can be quite precise in how theymatch up what you have done with how they process the film. Care must be taken
when you do this, however, because the quality of the image will change from the film
that has been normally exposed and normally processed. The film will have a diffe
rent
Look, Leaving the film longer in the soup (slang for the developing chemicals) generally
increases contrast and creates more visible grain. As always, you have to think about
how the pieces will match up with other things you are shooting,
Most DPs push film because they are trying to achieve a specific effect. It is great
for producing a grainier, more abstract image. In cases like this, you build that stop
(or stops) of underexposure into your filming by changing the films El. This relates
to the concept of halving and doubling . Every doubling or
halving of EI represents an f-stop, and you change the El rather than make the mental
Computation each time.If you have a film stock normally rated at 500 EI and you want to push it two stops, what would the new EI be?
One stop would be 1,000, and two stops would be 2,000. If you rate the film stock at 2,000, you will automatically
be building two stops of underexposure into everything you film. You then tell the
lab to push the film two stops, and the lab compensates for what you have done by
leaving the film in the soup longer.

 

VOL 97 (2016) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

 

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From ASC CLOSE UP american-cinematographer-logo Vol 97(2016)

What’s The Best Professional Advice you’ve received?

PETER LEVY, ASC

Don’t get attached to anything _ Be Prepared to turn on a dime at any time.

GREG FRASER, ASC, ACS

It must be a lighting tip : ‘ When in doubt , turn it off ‘

PETER MOSS, ASC, ACS

No matter how technologies  change, a cinematographer’s most valuable tool is his eye.

JAMIE ANDERSON, ASC

Roger Corman would always tell his first-time directors before the first day of shooting, ‘Whenever you get a chance,sit down!’ Still good advice

DAVID KLEIN, ASC

Never Give Up!

FREDRIC GOODICH, ASC

Remain a student.Respect your crew. Collaborate

SHANE HURLBUT, ASC

Never feel comfortable, always challenge yourself and never stop dreaming.

LISA WIEGAND, ASC

My agent ,Charles Lenhoff, gives me pep talks before job interviews. Early on he said ‘Tell them you want the gig.’ I thought he was nuts! I assumed, ‘ if I’m interviewing, obviously I want the job.’ I’m still amazed then when I say it, it works. In a couple instances,after the interview, the producers thanked me for telling them, because apparently they often can’t tell if their cinematographer candidates are actually interested.

VANJA CERNJUL, ASC, HFS

Tomislav Pinter once told me, ‘A great cinematographer doesn’t have a style’

PETER ANDERSON, ASC

Oddly enough, it was a print AD that McDonalds’s ran back in the Sixties, promoting being ‘persistent and patient.’ This Mantra has served me very well over my career.

MANDY WALKER, ASC, ACS

When I was starting out there were only a small percentage of women in the camera dept., and I am constantly reassured that while it may still appear to be male-dominated, there’s no reason why it should be.

CHECCO VARESE, ASC

Wake up before everybody else ; go to sleep after everybody else; work more than you think you should.

VOL 96 (2015) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

 

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From ASC CLOSE UP american-cinematographer-logo Vol 96(2015)

What’s The Best Professional Advice you’ve received?

THEO VAN DE SANDE, ASC

In Hollywood: Stay on schedule and on budget, and you are free as a bird.

ATTILA SZALAY, ASC

In 1992, I sat across from Georgy Illès, who was then president of the HSC. He learned forward and said,’ Do you want to know the secret of success in this business? As a freelancer, you’re like a call girl; never stop selling yourself.’ I pass this advice along to students whenever I get the chance.

MICHAEL WEAVER, ASC

Never show fear.

TAMI REIKER, ASC

Pick your battles, and never eat the fish.

JON JOFFIN, ASC

You’re never done lighting, but at some point you have to stop.

MAURO FIORE, ASC

My father once told me that a true master only needs a few tools. Pride in your work is a paramount.

FRANCIS KENNY, ASC

‘How to walk the line between clever and stupid.’ Through discipline comes freedom.

STEVEN V.SILVER, ASC

Make sure your chosen profession is your passion.

LEX DuPONT, ASC

From Gil Hubbs [ASC]: We are freelancers and must make tough career decisions.There will be times when it’s best for us to leave a project early.Some people won’t understand that; one probably  won’t have an enduring relationship with them anyway. And  from Julio Macat: be optimistic even during the darkest moments.Cinematographers are highly visible on set and our mood can affect the crew.

JAN KIESSER, ASC

In my early days of operating for Vilmos Zsigmond, we were discussing lighting, and he advised me to observe light in the real world all the time. I often reflect on that as I continue to observe and learn every day.

MARK VARGO, ASC

Don’t ever give up.And make lots of friends in the business.

TOM HURWITZ, ASC

Always listen to the story.Great cameramen use their ears as well as their eyes.

 

VOL 95 (2014) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

 

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From ASC CLOSE UP american-cinematographer-logo Vol 95(2014)

What’s The Best Professional Advice you’ve received?

MICHAEL BONVILLAIN, ASC

‘Never stand when you can sit, and never sit when you can  lie down.’

JAVIER AGUIRRESAROBE, ASC, AFC

I don’t remember ever receiving advice about my work from anyone except my gaffers, who advised me not to be so impatient.However, I once received  this general advice : ‘ A movie is like the Tour de France: It’s not necessary to win all the stages. It’s more important to resolve the worst situations,maintain the consistency, and then arrive in Paris as the winner’.

REXFORD METZ, ASC

‘Never say no!’

GEORGE MOORADIAN, ASC

At the bottom of a silver mine in Park City, Utah, 1 1/2 Miles underground Garland Wilde intoned, ‘Don’t be afraid of the Dark.’ You can take that advice anywhere.

JAMES A. CHRESSANTHIS, ASC

Vilmos Zsigmond told me, ‘Jim, it takes 10 years to become a cinematographer, so be patient and remember, nice guys finish first. And promise me that when you are a successful, you will help the next person.’

ALEX FUNKE, ASC

‘Never ask the crew to undo something  they already done!’ And, ‘Always finish the day leaving a shot ready to start right away the next morning.’

KRAMER MORGENTHAU, ASC

‘In this business, if you aren’t early, you are late.’

JONATHAN FREEMAN, ASC

‘Trust your instinct. Your first choice is usually the best.’

KEN KELSCH, ASC

John Cassavetes told us at NYU not to stop shooting.Just figure it out a way to do it.

JULIO G. MACAT, ASC

When you shoot, take chances, don’t play it safe; push the envelope into that scary and dangerous place; do not settle  for mediocre work. There is always  for improvment . Be original; do ordinary things in a extraordinary way. Don’t forget you are telling a story- so what does each shot say? Shoot images that you would enjoy watching.

To Be Continued… –つづく…

VOL 94 (2013) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 94(2013)

What’s The Best Professional Advice you’ve received?

NEWTON THOMAS SIEGEL, ASC

Find a way to keep shooting, no matter what. That is how I have learned and how I have grown.

STEPHEN GOLDBLATT, ASC,BSC

My gaffer in England, Martin Evans,advised me to say nothing during the first three weeks of production,to just watch and listen. I wish I had followed his advice more closely.

RUSSELL CARPENTER, ASC

‘Every Producer,every lab,every equipment house and every crewmember(from Director to caterer) is your family.’

CHRISTHOPHER BAFFA, ASC

‘Lead through respect,not intimidation.’ Words of wisdom from Dad.

PAUL MAIBAUM, ASC

‘All one really has in this business is one’s reputation as someone who can be trusted’

SHELLY JOHNSON, ASC

‘Learn from your mistakes,not your successes’

DON BURGESS, ASC

‘Spend less than you make’

STUART DRYBURGH, ASC, NZCS

‘Using Pentax spot meter,John Toon Taught me the relationship  between incident and spot readings. I have used this method of exposure calculation ever since’

RON FORTUNATO, ASC

‘We’re all replaceable’

STEVE GAINER, ASC

‘Always set the people you’re working with know if you are unsure about something . it’s much better than explaining  why a mistake was made’

SEAMUS McGRAVEY , ASC, BSC

‘Cinematography is 10 Percent cinematography and 90 percent bladder control’

MICHAEL SLOVIS, ASC

‘Remain Positive.’ It’s harder than you think.

To Be Continued… –つづく…

VOL 93 (2012) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

 

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From ASC CLOSE UP american-cinematographer-logo Vol 93(2012)

What’s The Best Professional Advice you’ve received?

RODRIGO PRIETO, ASC, AMC

On my first day on my first job as a PA, the production manager was late, and a grip said, ‘ it is disrespectful to be late on a shoot day.’ That made a big impression on me.

ROBERTO SCHAEFER, ASC, AIC

Listen to your gut instinct and believe in it. And Remember that the craft-service person on this job might be producer on the next.

JONATHAN TAYLOR, ASC

Stay calm, listen, observe and lead by example.

ALAR KIVILO, ASC, CSC

Don’t try to be someone you are not.

DARIUS KHONDJI , ASC, AFC

1)Learn how to listen; 2)Choose one strong idea per film; and 3 ) Really understand your motivations, why you do something and not something else, and the direction you take in your work.

SAM NICHOLSON, ASC

The film business is like a prizefight;it’s not how many times you get knocked down that counts, it’s how many times you get up and go again.

PETER LYONS COLLISTER, ASC

Treat everyone on a set as a human being . Learn everyone’s name, and don’t abuse any perceived power. I’ve witnessed such bad behavior by megalomaniacal  producers, directors, actors and , yes, cinematographers.Even in the stress of your 18 hour day, remember that PA has worked 23 hours already.

DAVID BOYD, ASC

Michael Chapman told me that if I didn’t want to shoot a project, I should just double my rate— That way I could be happy doing it. I’ve never tried it,but he made me laugh.

JOHN NEWBY, ASC

Know what you want to see in the shot before you plan logistics.

ROBERT PRIMES, ASC

After hearing complaints from an actor that I was putting too much light in his eyes, an executive producer called me into his office to remind me that I could be fired and he could be fired, but the actor could not be fired.It was a great lesson in political reality.

PETER DEMING, ASC

From George Folsey Sr. :’ Whenever you go in to production, eat a good breakfast and sit down whenever you can.’ Good Advice.

JERZY ZIELINSKI, ASC, PSC

Don’t let yourself become too obsessed with technology. Find a balance with your creativity.

To Be Continued… –つづく…

VOL 92 (2011) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 92(2011)

What’s The Best Professional Advice you’ve received?

JACK COUFFER, ASC

From editor Irving Lerner: ‘Cut out all the comin’s and goin’s’

BARRY MARKOWITZ, ASC

‘There’s only one way to shoot this thing : Two Ways’

CRESCENZO NOTARILE, ASC

From Owen Roizman :” There’s no need to have an ego as a man. Let your work on that screen be your ego”

DENNIS MUREN, ASC

Jim Danforth taught me the value of critical thinking, especially about your own work, and how to see your work as the audience will see it. And during THE EMPIRE STRIKES BACK, George Lucas showed me a helicopter shot and asked if I could add a creature running in the ground, which at the time seemed impossible because of the six axis camera motion. He said, ‘ Give it some thought,’ and within 15 minutes I had a solution,That Taught me that a right answer might be one thought away.

TOBIAS SCHLIESSLER, ASC

‘Don’t shoot your demo reel.Be true to the story.’

DEAN SEMLER, ASC, ACS

From George Miller:’Just be bold,Dino!Be as bold as yo want!’

BRUNO DELBONNEL, ASC, ACS

When I was an AC, a gaffer told me, ‘Don’t run on a set, ‘because you show everyone that you probably forgot something. I still don’t run on set, and I try not to forget too many things’.

TOM HOUGHTON, ASC

I received early encouragement from Woody Omens,ASC; and Walter Lassally,BSC taught me many crucial concepts over the course of several projects. I also appreciated the opportunity to be on set of Fat City, where Conrad Hall, ASC was executing  innovative ideas using 8k (4x2K) umbrella lights for the fight scenes.In dailies,John Huston would just put his head on down and listen, trusting Conrad to deliver their visual plan.

DANTE SPINOTTI, ASC, AIC

It was actually given to my son  when he was getting ready to direct his thesis film at the American Film Institute.Jay Fortune, a New York gaffer I ‘d just completed a film with, suggested to him, ‘ Don’t lose your sense of humor,even when everything seems to be going in the opposite direction.’

XAVIER GROBET, ASC, AMC

Life is like an airplane: you either get on board , or you don’t . It’s up to you.

DAN MINDEL, ASC

When I was a focus puller on a movie with Adrian Biddle, BSC, I told him I did not have focus marks, and he said ‘ Feel The Force. ‘ I use that advice all the time.

LUCIANO TOVOLI, ASC, AIC

‘The Edges of the frame are often more interesting then the center’

To Be Continued… –つづく…