Red Camera Scarlet 2010
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Samsung Seek M350 Phone, Scarlet (Sprint) $249.99 This mobile phone features a touch-screen display with a full slide-out QWERTY keyboard for simple text messaging and e-mailing from the palm of your hand. The 1.3MP digital camera with video record lets you capture special moments on the go…. |
Using SLR (35mm film) lenses for cinematography?
I’m the Director of Photography on a feature film that we’re going to start filming in April or May 2010. This is a small budget film because that’s all we can afford, so I’m trying not to use a huge budget on camera. The Director and I have decided to film digital at 30P in a 35mm film mode, because it’s not a major theatrical release (Sundance Film Festival and maybe a local theater). So, I was thinking that a good way to save money would be to use a manual SLR lens (Nikon, Sony, or Carl Zeiss), because they are 35mm photography lenses, and then Cokin filters on the front of the lens. What do you think? Do you think it will work well?
If not, could you give me a link or something to a good video lens website? Thanks!
And by the way, we’re currently looking at a Sony HVR V7U or the new Red Scarlet for the camera. They are both about $7,000 cameras.
The Scarlet won’t be out for years, and a functioning camera will be more like $15,000. Yes, you can use an all manual SLR lens, you obviously need a depth of field adapter- I prefer the Cinevate mp.1 model. Many people, including me, successfully use this set-up, but remember- Cinema and SLR 35mm are different formats- so an SLR 35mm is more like a 50mm, so you have to adjust accordingly. Also DoF adapters can be somewhat tricky- you constantly have to adjust them to get the best performance- make sure you get yours well before production and do plenty of tests.
Red Day Vegas 2010 Red Epic – Scarlet Camera – cineToolz Interview with Ted Schilowitz
All About Evil (2010)
While introducing a kids matinee performance of The Wizard of Oz (with Dad both the theatre-owner-producer and Mom the Wicked Witch of the West), young Deborah catches a bit of performance anxiety resulting in an embarassing wetness on her Dorothy costume and unfortunate electrocution via the pee-soaked microphone cord for all the families in the audience to witness. Certainly the sort of thing that could scar one for life. The moment is simultaneously sad, funny, tragic and high-kitsch and so goes All About Evil, a decidedly local tribute to the Midnight Cinema of yesteryear in those (alarmingly rare these days) single screen repertory houses presented with the tongue-in-cheek verve of late-late-late-night camp. A lot of these things display quite prominently in the film: Cassandra Peterson shows up as both subdued actress and horror-icon (in perhaps the films best joke, the young lead has Elvira as a wall pin-up (the classic cleavage-laden pose) and Peterson plays a significant role as his concerned Mom. Paging Dr. Freud!) Classic drive-in horror graphic art figures prominently into the film, both diagetic and also the superb opening and closing titles. The innocent/saucy tone of the whole affair feels very much like John Waters, and sure enough Water’s regular Mink Stole shows up as a shhhhh’ed librarian, and the moment of her lips being sealed is about the closest thing I have seen in the past 10 years to Herschell Gordon Lewis. So yea, the film wears its influences on its red-soaked sleeve.
The story picks up a couple decades later, where Deborah (American Pie’s Natasha Lyonne) is running the struggling movie-house (San Francisco’s historic Victoria Theatre to be precise) showing vintage cult curious to honor the spirit of her father who has passed on (probably from disappointment) while making ends meet with a job as a librarian. Frumpy on both counts and clearly being held down by her (still wicked) mother who wants to sell the old cinema to developers but needs her daughters signature to proceed, things come to a head during a late night screening of Blood Feast. The scuffle caught on the security cameras of the lobby results in not-so-Mommie Dearest being dispatched in bloody fashion and displayed to the patrons in front of the feature. Of course the accidental voyeur-snuff short is a hit, and a newly empowered Deborah proudly sporting an Elsa Lanchester silver streak in her red tresses soon gathers a band of misfits including her aged (but vibrant) projectionist, a set of young twins who wandered away from the Overlook Hotel and got a goth-chic fashion makeover, and Noah Segan essaying another of his grown collection of greasy grotesques to shoot DIY bumpers to drive up business. Pun-ish takes on literary classics (The Scarlet Leper, Gore and Peace, A Tale of Two Severed Titties), the short films channel Deborah’s latent performance anxieties, sadomasochism and desire for fame (or a need to prove to daddy she is Orson Welles) by rounding up locals and off-ing them for the viewing pleasure of a growing number of fans and theatre patrons. Only Steven, the high-school boy in the above meta-Freudian gag picks up the (not even subtle) change in Deborah and sets out to shop her reign of murderous high-camp….
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