Producer: Elise Hanslip
DP: Alex Shingles
Grip/Camera Assist: Jamie Carr
Camera Assistant: Kevin Khang
It’s hard not to call this place home. So nice to be back, if only for a moment. These frames are from late 2020 but I only got them developed this April and looking through the slides was like travelling back through time to when my eye was at the viewfinder.
Pentax 645 | 45mm 2.8 | Kodak Ektachrome
#film #filmphotography #mediumformat #kodak #ektachrome #slidefilm #pentax #645 #rewindphotolab #mudjimba #sunshinecoast #corememory #happyplace
3 months ago
ASAS - Growing
I got a call from director Byron D’Arcy last July to shoot a promo short for his old high school, almost entirely from the perspective of a child’s hand as he begins to understand the world around him through touch. I suggested we shoot the project on 16mm, realistically thinking the budget would be larger obstacle, and before I knew it I was ordering the stock.
We shot on 2 different stocks for 3 different time periods. We found the 200T with an 85 filter gave us the “Kodak Gold” feeling we were looking for in the early childhood moments where our hero is still learning the wonders of the world around him. For middle school, we found shooting 200T corrected in DI gave us a slight disillusionment that comes with adolescence, with deeper blues and more nuanced colour. Finally, in senior school, when our hero is fully formed and knows what they want from their life, we shot on 250D for its bold, acrylic-like tones and colour reproduction. We were also heavily influenced by the colour tonality of “Dead Poets Society”, hence the dramatic push toward magenta in post.
Director/Producer/Writer/Editor: @thebdarc
DP: hello
1st AC: @kevinkhangdp
Gaffer: @nicholascurthoys
BTS Stills: @frankportfolio
Composer: @jazzdarcy
Shot on @kodak @kodak_shootfilm
Serviced by @cameraquip and Troy Galvin at @panavisionofficial Gold Coast
Stock supplied by @cameraquip
Developed by Werner Winklemann at Neglab
Scanned in ARRIScan by Peter Richards at @fixafilmoz
Lighting supplied by @lightingbyjono and @julianpanettadp
#cinematography #directorofphotography #super16 #filmsnotdead #shotonfilm #kodak_shootfilm #arrisr3 #zeisssuperspeeds #kodak250D #kodak200T #arriscan #panavision #childhoodmemories #learning #hands #touch #growing #stayinschool
3 months ago
I made a joke to @kevinkhangdp that I would start doing a reel at the turn of the financial year. It was meant to be a joke anyway…
Thanks everyone who let me press record 🤙
3 months ago
“It was me Maria, I was the Mule all along!”
Some frames and BTS stills (courtesy @the_urban_dystopian) from Mule, our semester one narrative project. So lucky to have been in the company of such cohesive and talented coworkers.
Dir: @inezplayford
Prod/1st AD: @cj_cuppy
Prod: @hirickyjames
Maria: @luluhowes
Bianca: @mik_barghy
Writer/Cont: @alexiaattwood
Prod Design: @deadlightsproductions
Editor: @chimenekhoo
Sound Supervisor/Design: Sharay Armfield
Original Music/Boom Op: @cb_composer
DP: hello
1st AC: @kevinkhangdp
2nd AC: Thomas Thoms
Gaffer: @sydgaffer
Colour: @sosoishero
BTS and good vibes: @the_urban_dystopian
@aftrs
4 months ago
Unreleased Music Video
Poor man’s process, super 16 zooms, step processing… could it be a no budget music video? Sadly this one never got off the ground but I’m super proud (and surprised) by how well conceptual turned into reality. @luiscampbell_ threw me a massive curveball with this first shoot together but what it lacked in sleep in nights leading up to the shoot it made up for in sheer fun.
Director/Producer/Editor: @luiscampbell_
First AD: @julianfdarcy
DP: 👋
First AC: @stefcanard
Gaffer: @elliehayw
Best LX: @taylorbrent_
Camera and Grip supplied by: @julianpanettadp @jamie_on_toast_
Lens supplied by: @lemac_australia
Lighting supplies by: @elliehayw @nicholascurthoys
Car Mount supplied by: @micksgripping
Venue: @ventspace___
#cinematography #cinematographer #musicvideo #ursaminipro12k #pocket6k #zeissvariosonnar #sigma1835 #stepprocess #carmeet #tokyodrift #hyperspace #warpspeed #poormansprocess
5 months ago
A few months ago, I decided to take a leap of faith and act on a dream I've had for years – to shoot film. I've been shooting medium format for 3 years now and 1 and a half of that with Ektachrome as my preferred stock, so when I learnt that @cameraquip had one spool left of E100 in 16mm, I couldn't resist.
With a crash course in loading from @brianflexmore, who serviced this project with an immense generosity of personal time, my partner and I raced up to our favourite beach and captured the light fading from the horizon. After 2 months of anxious waiting, the film had finished it's US roundtrip for development, and it was time to get the film scanned.
I'd heard from colleagues that scanning was a strictly out-of-the-country affair, but thanks to the recommendation of Brett Smith's at @arriaustralia, I was lucky enough to get in contact with Peter Richards at @fixafilm who agreed to scan the reel on their newly upgraded ARRIScan XT. Peter serviced the project with speed and generosity, sending screen grabs and plenty of communication throughout the period.
The quality of the scan from the XT is truly uncanny. Having shot my fair share of slide film, I know it's not a tough bargain to capture vibrant yet natural colours on E100. Capturing the film in its limited exposure latitude is. But even in highlights that had clipped, the XT was able to retain a pleasing roll-off from even ultra-bright regions in the clouds, and dig into the shadows and find detail imperceptible to the naked eye. Really powerful stuff. The colour profile (which Peter created from scratch for this film!) retained all the same colours in the scan as it did in the print, shade for shade, and both Peter and I were shocked by how tight the grain structure was on Ektachrome, with some shot reminiscent more of 35mm film than 16mm.
In retrospect, if we had more time, we may have approached this shoot more scientifically, though we were lucky enough as it was to shoot out the entire 100’ in the 45 minutes we had left! What I can say with confidence is that although this was a simple test, the results have given me the confidence to take Ektachrome seriously as a viable shooting format.
1 year ago
My partner got me a wonderful Christmas gift in 2019. In 2018, I shot a film school thesis short and rented a set of old school acrylic 4 x 5.6” filters to add a little vintage flair to our images and dirty our Sigma lenses up. When Cameraquip Brisbane shut down the next year and began selling some assets, I was devastated I might never be able to shoot with them again. Thankfully, they were wrapped up with a bow under the tree.
Last year, during some down time on a job troubleshooting gear, myself, my 1st AC @jamie_on_toast_ and our script supervisor/1st AD Navaz Illava decided to do a side-by-side test of all the different strength. Definitely interesting to see the difference between how the + signified a different kind of diffusion strength to a higher number!
Courtesy of @kevinkhangdp we were also able to do a side-by-side with his Glimmer Glass 1/4, so we could see the inherent differences in characteristics when the strength is comparable.
Please note this test is beyond unscientific. We didn’t have a lot of time, so what you see is what you get. If you like the look of these filters, give me a message and come have a try!
1 year ago
What you see vs what they don’t want you to see.
#cinematography #cinematographer #doplife #shittyrigs #ursaminipro #atlasorion #dollygrip #doctorshatehim
1 year ago