About Us

T R A N S F E R S

Finding that there is a lack of support for affordable high resolution transfers, I began researching my own ways to do it. I shot a few short films and soon thereafter other filmmakers began approaching me wondering how I got my super 8 to look so good... 5 years have passed and with the support of other cinematographers, I created our little studio called Frame Discreet. Our custom super 8 and 16mm transfers have us trusted by archivists and filmmakers all across North America.

C I N E M A T O G R A P H Y

Our team of cinematographers (listed below) act as a collective, inspiring each other on and off set. We have a full range of experience working on features (Max Payne, The Hulk) to music videos (Hayden, Emily Haines), to Documentaries (CBC, YTV, MTV, Bravo!). Having our own gear and being able to supervise transfers in house allows us the freedom to create desireable 'film looks' at a much more affordable rate. In the end, we're trying to make it easier to collaborate, work with film and keep doin' what we love.

Questions? info@framediscreet.com.

Wednesday, April 9, 2008

Frame Discreet- On location "Twilight"





Frame Discreet Cinematographer Michael Leblanc created a very surreal look on Twilight, referencing the feeling of "The Polar Bear Express" and "The Saddest Music in the World". Shot on Super 16 with the Arri SR III & Fuji 500T (for a softer, grainier look). This film is a period piece. After some major testing, Leblanc settled on using a Soft FX 2 filter to create a diffused beautifully soft look (photographs above are without filters, just showing you our lighting setup for reference). Justin Lovell was shooting B Camera inserts with our Super 16 Bolex, 5.9 wide angle lens with Soft FX 1/2 filter. This camera was meant to capture a more jarring 'in your face' perspective of someone in the midst of the party happening on the train.

2 comments:

Anonymous said...

Does that mean Twlight was shot on super 16?

Anonymous said...

It's not "that" Twilight.