empty

I've got all the final 2K color corrected footage back now and just started going through it today.  Really stoked with how it's turned out.  Couldn't be happier with it.  A huge thanks to Ryan Emerson and crew at Process Blue in Connecticut for their work transferring well over 20,000 feet of film, and coloring all the select shots that are in the final movie.  It was a ton of work.  It's been awesome collaborating with Ryan on this project.  

Here is Process Blue's site: http://processblue.tv/2/

This is definitely one of the most spectacular waves I've seen.  And the light during this end of day session was absolutely beautiful.  I shot this from the boat and it was during this session that we nearly got flipped by a very wide set.  My heart stopped for a moment as the small boat went vertical and we just scratched over the lip of the wave as it threw over just under and then behind us.  

Jem Cresswell shot photos in the water this session and got some amazing shots.  One empty in particular that I'll post sometime soon.

this project on facebook: http://www.facebook.com/pages/Hangs-Upon-Nothing-a-16mm-surf-film/246361802068338

check check

Demian Amar and Darmaputra Tonjo, late afternoon surf check, Super 16mm film frame.  This shot is not going to be in the final film.  I have a feeling I'm going to be finding lots of frames I like that will never make it into the movie.  As I've mentioned before on here, this frame is from a shot I didn't even think twice about, but for a few frames, I dig the shot.

Just got all the 16mm and Super 16mm film footage I shot over the last six years or so back as digital files, transferred to full 2K(slightly higher res than 1080P HD).

Right now I'm editing the entire film with low res SD files, also transferred from the original film negatives.  I'm editing first in SD since those files are much faster to work with.  Once I have that finished, I'll go back and conform the high res 2K footage to this edit.  Then I'm going to meet up with Ryan Emerson, who has done almost all the color correction on this project so far, and we'll work together on a color correction session of the final edit of the movie.  Well, he's gonna be doing the work, I'm just going to be offering suggestions on what looks good, and how I remember the colors looking in person.

Ryan has a new transfer facility/post-house out in Connecticut.  It's called Process Blue.  They did the recent 2K transfer.  They have a film scanner called the Golden Eye III.  My initial impression of the footage, without color correction, is that their scanner does a wonderful job of capturing film.  It seems to look the closest to actual film of any transfers I've seen so far.  Other film to digital transfers I did up to this point, such as for the trailers, were on Spirits.  Excited to see how all the footage looks after color correction.  Motion picture film, as it comes in raw with no correction, the colors are quite dull.  But after a bit of adjustment, it can look beautiful.

This frame above I grabbed from the new transfer, downsized it, and adjusted colors a bit in Photoshop.

If you dig this project, stop by the page on fb and say yo: http://www.facebook.com/pages/Hangs-Upon-Nothing-a-16mm-surf-film/246361802068338

the surfer, the fisherman, and the barrel

Super 16mm film frames of Daniel Jones. The super refers to the wider 16mm film format, where the film gate is wider, and thus the edge of the film that used to be reserved for sound in years past, gets exposed also. And you get a native widescreen image. My cousin Rob and I converted my old Bolex camera to super 16 last year, and this footage is from the first trip I took after that. For the most part, it worked really good. A few rolls were all blurred though as I threw a few things off internally on the camera when I tore it apart to convert it. Had the camera serviced by Dieter Schaefer at Procam earlier this year and it works great now. I should mention that this camera filled up with salt water a few years ago in Kiribati, when the small boat I was on nose dived. WD-40 kept it working on that trip, and its still going strong, though it has a bit of rust.

I have a habit of getting my gear soaked in the ocean. While filming Daniel at this spot above, his last wave of the trip, he went over the falls and broke his board in two. When the front half of his board floated in with an oncoming rush of water over the reef that the fisherman is on, I went to grab it. I forgot my ipod was in my pocket. It got soaked and never worked again. My girlfriend had given that to me for my birthday. I was so bummed. If only it operated on a wind-up spring driven motor like my good ol' Bolex from 1967.