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Showing content with the highest reputation since 06/10/20 in all areas

  1. 2 points
    Interesting article, just as the title says. https://www.artsy.net/article/artsy-editorial-running-gallery-apartment-side-art I liked the part of the DJ in the kitchen playing 'Frankenstein' records that were cut up and glued back together like Wm. S. Burroughs mosaic prose he cut up and glued back together. How is that even possible? I would think it would wreck the needle.
  2. 2 points
    There seems to be a rise in fraudulent sellers on this and other online forums lately. If you receive an email that looks like it's from Cinematography.com, make sure the web links in the email are exactly Cinematography.com, not something similar. Scammers can make a web site that looks just like Cinematography.com but is a fake. If you log in to their fake forum, they'll have your real forum login and can hack your account here on the real forum. If you are tricked into clicking the link the scammer will steal your forum login, change your forum password and email address, and impersonate you in the forum. They will use your account to send out fake login emails to other forum members and try to hack their accounts too. If you are considering buying from a forum member, please please please do some research and make sure they are who they say they are before you send anyone funds, even if they are a long-time forum member. A long time member's account may have been compromised by an impostor. Any legitimate seller or buyer will be happy to provide you with real information. Scammers typically just try to make the sale quickly without answering any complicated questions. Don't rush it. Call the person on the phone and talk in detail about the item and transaction details. Make sure they know what they're talking about. If they're the seller, have them immediately text you photos of the item that you can tell are current. Ask them to pose in the picture. Use a payment method that includes fraud protection. Don't use PayPal's "Gift" option which does not offer any protection. Change your forum password. Use the forum's Two Factor Authentication feature. This protects your account from being compromised. Be safe.
  3. 1 point
    Hello, I needed to post this comment and ask for some advice. It is sad that my first comment in this forum is about a negative feedback of a supposedly good reputable camera service engineer, but I just felt that I have to tell this. I have been reading this forum for many years, although I never commented until now. I am self taught filmmaker with a burning passion for analogue film, so this forum was a fantastic help and guidance over the years. I bought an Arriflex 16 s/b camera 4-5 years ago from Cinema Camera Engineering Company in Los Angeles. I contacted them through their website and they were incredibly professional and attentive. The camera was serviced and arrived in perfect conditions. Everything was working really smooth. I was really happy with the purchase. Over the years, I bought some prime lenses, accessories and I built my rig following advice I read on topics and comments from members of this forum such as Tim Carroll and others. It wasn´t easy trying to understand everything by my own. I bought few great books like The 16mm Camera Book by Douglas Underdahl which helped me on my path to filmmaking. I grew a very close loving relationship with this camera. In the last two years I didn´t use the camera at all. Having some upcoming projects in the next months, I figured that after such a long time it would be better to have the camera serviced and lubricated for another 5 years. I searched for a good camera service in Europe since I am located in Barcelona. After doing some research and reading few comments on this forum, I decided to contact Les Bosher in England. I sent him the camera a few weeks ago and I received it back yesterday. To my surprise, the camera has come back with so many issues: - The door cannot be completely closed. When I close it, it moves. Light can probably leak in, and it is also moving the viewfinder throwing the image inside all over the place. - I cannot push the level to open the door all the way to AO open position. It stays in between. Before it snapped at AO. - I notice more friction when rotating the lens turret. Before it was smoother. - Also, I think the supply feed spool now is like the other way around. I am not sure, but I think before it was smoother clockwise and now it aint easy to move. - The persicope viewfinder has some issue and moves changing the position of the image inside. - The eye focus of the finder do not stay hard when I tighten the knobs, so I am loosing the position of the focus for my eye really easy when touching the finder. - I sent him two lenses (Arri 8mm and 16mm) I bought online over the years to have them cleaned and make sure the were collimated and adjusted to the camera. Now I cannot move the focus of the lenses. The Arri 8mm focus is really stiff. It is hard to move it. - I also did a tape and eye focus test with both lenses from 1 meter and 2 meter distances. In order to focus the chart on the wall, I have to pull the focus to infinity, yet the chart isnt completely in focus. So this could mean the flange focal distance in the camera is out of alignment? I am just really surprised at this kind of work. The camera was great and I feel now it is unusable. I phoned him yesterday and ask him what went wrong. Then I sent him a couple of videos showing the problems. Yet, today I havent got a response. I just feel really disappointed and I cannot understand this lack of professionalism. Not to mention, the communication by email was not good at all, and he missed some details of my address when he sent me the camera, so the delivery company couldn´t deliver the camera and it was sent back to England, then back again to Spain with the right address. It took more time and stress than usual. I am going to phone him again today and ask for a refund. I want to send the camera to someone else who can restore it back to perfect mechanical condition. I think after seeing the poor work that was done to the camera, I am afraid to send it again to him. I just hope he agrees to refund me the money so I can use it for another better service. Do you guys recommend a good place to service an Arriflex 16 s/b camera? I am located in Barcelona, so somewhere here in Europe would be great. Considering the bad experience I just had, I wouldnt mind to pay extra and send the camera to the States. I have found that DuallCamera or VisualProducts offer a service for Arriflex 16s. Are they reliable? I would appreciate your advice and recommendation. Javier
  4. 1 point
    I really enjoyed this article on Sony Cine about reels. I found it refreshing and inspiring to create a reel with a new approach.
  5. 1 point
    If I were shooting this on film, there are two ways I would have metered this -- one, I would have imagined this as a 360 degree move around the person and metered the backlight as if it were a front light, second, I would have metered the shaft of light with a spot meter (trick there is that the smoke levels keep changing) -- I would have compared the two readings and then taken a guess!
  6. 1 point
    If you were considering a big HMI, you'd need a generator anyway, so does it make a big power difference to use a 12K MaxiBrute versus a 9K HMI, let's say? With tungsten, the units are cheap but the power is expensive, with most other lights, it's the opposite, which is why a lot of soundstages still use a lot of tungsten if they are going to be rigging 300 lights, let's say, and hold on to them for several months.
  7. 1 point
    Well, if power's cheap, which frankly it often is, tungsten works great for more or less everything. There are two situations where LEDs win. First is when you're running around on battery power (though HMIs can also be battery powered, up to a certain sane size limitation; the thing with LEDs is that they're ofte small lights.) Second is if you're lighting a huge studio interior with space lights or something like that. In that situation, studio power is often extremely expensive, and you can end up using vast amounts of it. Even worse, all that inefficient lighting creates massive amounts of heat, which can require massive amounts of air conditioning, which requires massive amounts more power. The place LEDs and the like really score is in news studios where the lighting runs all day and all night, and it has to be air conditioned to keep everyone looking pretty. If you're shooting a small project in someone's house, unless for some reason you need massive amounts of light, tungsten is fine.
  8. 1 point
    Anywhere to watch Spike Lee's short besides Insta? Also found only 360p on youtube, can't even watch it at that size.
  9. 1 point
    Looks like the only fill is the backlight bouncing off of the smoke back into the shadows.
  10. 1 point
    "That guy who puts a 2K open face as main source ".. haha .. Im only joking of course .. yeah if they cost nothing and work.. tungsten lights can look great .. Im old so I remember when there was only Red heads and Blondes .. and an HMI on a posh shoot !.... I just remembered a funny story, and I swear its true .. I was an AC in the 80,s on a BBC shoot ,made by an Independent prod co.. we were all freelancers .. anyway the shoot was in Greece on a small Island ,we had one light ..a Blonde ,one ext cable, one stand ,and a spare bulb .. but due to BBC regs, we had to have a spark with us !!.. seriously .. a guy came all the way form London to Greece ,to put one light on a stand and plug it into the wall.. and I think this was done twice in a couple of weeks .. and you tell kids these days !
  11. 1 point
    I’m surprised no one from the Super 8 community here has mentioned Spike Lee’s beautiful Super 8 film about New York during the pandemic, a much more interesting celebrity effort than Katy Perry’s music vid, and a far better example of what Super 8 can look like when done well: https://www.rollingstone.com/movies/movie-news/spike-lee-new-york-new-york-sinatra-996192/ Spike mentions it was shot with cameras provided by Kodak.. whether that means the Kodak Super 8 camera promised so many years ago or something else I don’t know.
  12. 1 point
    I like my red heads I refuse
  13. 1 point
    That is one of the big advantages. Their are many more... seriously the R is leaps and bounds an all around better camera than the original F900. The body itself is even lighter than my Varicam H. Oh bruce, speaking of that, I got a Zeiss Digizoom and a Canon HJ21x7.5 Cine lens for my Varicam H and F900R :)
  14. 1 point
    I think the big advantage of the R model is that it has digital video out over SDI. The earlier models only had analog video out which required 3 cables.
  15. 1 point
    The F900 and the F900R are very similar. There are A LOT of movies shot on the F900 series cameras.
  16. 1 point
    ...and let me tell you, it is leaps and bounds better than the original 900. I have a 900R and its a beautiful and lightweight camera.
  17. 1 point
    This is a sunset shot I took in raw mode and converted to 5600K and to 3200K:
  18. 1 point
    No, the Genesis did not pixel bin, it was the same sensor as the F35, approx. 2K per color, 6K total, so it could simply read out each color stripe and create 1920 x 1080 per color, no demosaicing. There weren't extra pixels to bin from anyway, there were just enough pixels for each color in HD plus some unrecorded lookaround I think (that part I don't remember.) I guess you could consider that to create red, for example, you extracted every third stripe from the sensor, maybe you'd call that "binning" but it's not the definition normally used. It's the nature of the color stripe design that color moire is sort of inevitable unless you really want to soften a lot of fine detail to get rid of it.
  19. 1 point
    The lack of c-stands is killing me! haha I'd ditch the neewer light stands (they're flimsy) and shell out the cash for c-stands. Matthews is a solid brand, so is American Grip and MSE. Neewer makes c-stands, but they're also cheaply made. You'll have c-stands for life, so go with the brands I've mentioned. Check out eBay for used Mole Richardson lights. A 650W Tweenie and 1K Baby can go a looong way. The China ball is great, but they rip easy and require more rigging. They're best used as overhead lights, skirted with black cloth or black trash bags. You also need to get sandbags
  20. 1 point
    Hi there, Over the last few years I've developed a system to match cameras with color science, specifically matching digital footage to film. I recently finished a quite heavy project attempting to emulate 5219 with the Alexa, and I'd like to share it with you and hear what you think. I wrote a few words about my findings and thoughts from the process for those interested in the topic, as well as put some side-by-side images comparing film and Alexa after the color science has been applied. Here's a link to the post: ARRI Log C | Kodak 5219 I'm also interested in hearing your opinions on, and knowledge of, the use of similar color science within the industry in general. Are some of you using similar techniques already? I read that they used Steve Yedlin's display prep on Last Jedi to match digital shots, but haven't been able to find much info elsewhere on the application of such tools. Would you find creating film-like looks for digital capture a desirable trait or prefer clean Log C as a starting point for grading?
  21. 1 point
    Here are some stills from real movies graded with Dehancer (Kodak Vision 3 film profiles mostly): SOFYA Director: Nikita Chvanov Dop: Max Zazulin Color: Victor Malygin "Object 12" short fiction film Dir. Valeria Boldyreva DoP Alexey Tokun Colorist NIkolay Smirnov "Katyusha" short fiction film Dir. Daria Zabava DoP Vladislav Smirnov Colorist Vladislav Smirnov
  22. 1 point
    Hello folks. We've been researching this matter since 2014. Finally we released a film simulation tool – Dehancer OFX plugin for DaVinci. There is a full set of modern Kodak Vision 3 negative movie films + Eastman Double-X 5222. We have more than 50 photographic and movie film profiles in total. Аll of them are sampled from real film stock and printed in our own darkroom to capture true film color and contrast. Dehancer is not just LUTs, because our film characterisation is a very sophisticated process + many unique stuff that just couldn’t fit in a single lut. We’ve even sampled –2 +2 push/pull film exposure variations. There are also additional tools for complete film look and feel inside the plugin – Film grain, Bloom and Halation. Here are some examples of Kodak Vision 3 and Fuji Etherna profiles: And even Adox Color Implosion we have too: It would be a great pleasure for us if you try it: https://www.dehancer.com * Please don’t forget to hit Update button in the plugin – it downloads all film and camera profiles. It’s free to try, and promo license requests are accepted via e-mail (see website contact info). It is also possible to get a license for free – if you have any interesting ungraded footage you could provide us with.
  23. 1 point
    That's too broad a question, there are an infinite number of lighting scenarios in an infinite number of settings. The ratios of highlight to shadow, the color temperature, the brightness of the background, are all location, scene and story-dependent. And "cinematic" is a vague-enough word to be nearly useless. A room lit for blue twilight would look different than lit for sunset, midday, night with all the lights on, night with one lamp on, night lit by moonlight only, etc. And the room might have white walls or dark wooden panelling. It might be big or small, it might be a kitchen or a bedroom or a bathroom. It might be 1790, 1890, or 1990 in the story.
  24. 1 point
    I can't imagine who'd even want to attend an olympics at this point. It'd be the most rubbish, half-hearted olympics ever. But when I say "this can't continue," I'm not talking only, or even mainly, about people's livelihoods. That's important, of course, but there are wider issues that come with this situation that can't fairly be characterised as people being concerned about career issues. Do this for long enough and essential services will begin to fail, we risk mass unemployment, mass homelessness, rampancy of the diseases of poverty that the western world has largely forgotten, and the collapse of law and order. This will kill people just as certainly as the disease, as well as a huge number of other extremely awful outcomes that will make career concerns seem trivial by comparison. I presume I'm not the only person thinking about this. What I suspect is that in a couple of months' time, a way will be found, politically, to justify a phased return to work. If there's any sign that the curve has been flattened at all, this will be easier to justify, but I suspect it will be done either way. It is possible this will provoke very large numbers of deaths. There may be gruesome scenes of bodies stacked up, awaiting safe disposal, which is one reason this is likely to be more acceptable to the public if those deaths take place over months or years as opposed to weeks. That is why I am certainly not proposing Max's relaxed attitude. Isolation measures should be followed to the letter because they flatten the curve, and anyone who does not understand this hasn't been reading very carefully. I have close family members and friends in the highest risk groups. What I'm doing here is risking a prediction of what may happen in the next two to five months which may seem like catastrophic incaution, because really it will be. What it will also be is pragmatism - cold, callous pragmatism.
  25. 1 point
    With respect @Max Field and @Richard Boddington, this is a heartless and uninformed position on public health. On average across 34 countries, the current mortality rate is ~ 3% (source). If the pandemic finishes with no vaccine, then 9.8 million Americans and 1.12 million Canadians will die from the virus alone. This is also assuming both health care systems can handle a fast pandemic, instead of a slow pandemic that the world is trying to push towards. [Spoiler: neither heath care system can handle a fast pandemic] Because the healthcare system will collapse for COVID-19 cases, other public health issues will too be effected such as other diseases, cancer treatment, physical accidents, etc. A fast pandemic will create a snowball effect of the health care system failing to help those who need it (rich or poor) and more people will die. In this hypothetical situation, substantially more people will die and the economy will have a nuclear meltdown. What's currently happening in the economy will look like a walk in the park compared to this scenario. If I were to use the highway example from earlier, this theoretical highway would be falling apart, littered with car crashes, even more dangerous than before, and most likely un-drivable. --- As someone with asthma, who the CDC says I have a high risk of serious injury or death from COVID-19, I could care less that you're getting strained financially. I'm in the same boat; I live and work freelance in Los Angeles, I was slated to shoot a feature next week that got pushed back indefinitely. I have no idea when I'll work as a DP again. But I'd rather have friends, family, and myself alive and well.
  26. 1 point
    Congratulations to my operator Jim McConkey for his SOC Award last night!
  27. 1 point
    For low budget and indie stuff it may be better to get couple of good light stands and couple of decent size reflectors to control light. The main problem tends to be that there is enough light but it is of wrong quality and from wrong direction or is just too harsh. I like to use couple of foldable Lastolite style knockoffs which have changeable silver, white, black and diffusion surfaces. They are handy on small shoots. Can also use styrofoam with one white on other side and black on other and the other having silver on other side and white on other. You can do these by yourself for couple of bucks if needed. You may want to have one led light which is easy to adjust and is about 40 to 100w range. I like to use daylight led for more output and just gel it down if needed. You will lose light with adjustable leds because they are rarely used on colour temp setting where all leds are on full power. Probably you would like to have another light which has lots of output. I would personally use something on 1kw range tungsten for that type of shoot. It can be controlled with the aforementioned reflectors to get the light look nice without making too artificial classic tv interview look (unless you really want to make it look like that) I personally like to use 2 light setups and control it in other ways like flags and reflectors to make the output look nice. I think the worst thing one can do is to purchase 3 similar lights like a redhead style kit with similar stands and everything
  28. 1 point
    By my understanding, you are making a one-off, non-commercial, just for fun production right? If this is the case I don't really advice you to go any buy any of the stuff you mentioned. It would be a few thousand dollars, and unless you are making money off of it, it's not worth it. In this case I would recommend you simply go ahead and rent, it might seem like spending few hundred per day is expensive, but it's actually very affordable for the quality you are getting. You can rent on weekends and only pay for one day, or rent for whole weeks and paying for 3 day/week. I don't really know where to go as I live in Europe, manye someone based in states can help. Bt in any case, 1080p is more than enough , and 60p is nice for some slow-mo. Wouldn't recommend get anything more than that. If you do plan to shoot for many days (for more than 10 days) or plan to do multiple projects in future, then I would recommend you look into a company called Aputure for lights, their lights are very high quality and affordable (they are also coming out with a full RGB panel mid 2020). And stay away from Tungstens, they are old tech and suck a ton of power, it's easy to trip a breaker with them unless you know what you are doing. One exception is to buy used tungsten from rental houses, they're moving onto LEDs and are selling off their old Tungstens for pennies (like a 650w for $100), tungstens are built like tanks so age doesn't matter. One thing I would recommend you to buy is a good on camera monitor, it's the only thing many DPs own now days, as you can always rely on your monitor. You generally learn your monitor better with time and it really speeds up your workflow. Something like the small HD 702 or focus 5. You can find used ones for cheaper, but their prices have came down a lot now days. One last tip is to go a talk to your local camera rental houses, they can offer you deals on used gear. Finding a good one can go a long way when it come to renting.They also can teach you how to pick out a kit - lesson that are way too long for a forum post. They are is most cases very friendly, even if you don't seem high value to them - find a new one right away if they hostile to you because you aren't high value. Anyways, welcome to the forum and feel free to post any questions you have. But always search if it has been posted before you ask. Many questions have already been answered. Here's a few links that might help:
  29. 1 point
  30. 1 point
    Just to throw in a different perspective. Always been a big fan of the Arriflex 16S/B. Have owned the Bolex, and Aaton LTR. The Arriflex is really nice and simple, and I found it easier to hand hold compared to the Bolex, and a lot more compact and maneuverable compared to the Aaton. And with one of the periscope finders attached, you can shoot the Arriflex from many different angles. If I were doing what you're talking about doing, I'd find a good Arriflex 16S/B (which should not cost you $2K) and a Zeiss 8mm T* lens, and just have at it. Had this combination a decade ago and although I still have the 16S/B, I stupidly sold the Zeiss lens. Because it is 8mm (and make sure you get one with the T* coating) camera movement is not an issue. And you can get in really close and make some really wonderful footage with it. Just my 2¢ worth. Good luck with whatever you choose.
  31. 1 point
    https://en.wikipedia.org/wiki/M42_lens_mount "The M42 mount was first developed by Carl Zeiss at their Jena plant in 1938 at the request of the KW camera company for their Praktica line" https://www.pentaxforums.com/articles/photo-articles/the-evolution-of-the-pentax-m42-mount.html " With the introduction in 1957 of their first SLR with a pentaprism dubbed the Asahi Pentax (colloquially known as the "AP"), Asahi Optical Co. opted for the M42 screw mount" https://en.wikipedia.org/wiki/Krasnogorsk_(camera) A total of 105,435 Krasnogorsk-3 cameras were produced between 1971 and 1993.
  32. 1 point
    This is the week before the last week of pre-production, and things are really busy. Next week consists of a day of wardrobe, hair & make-up tests, then two days of tech scouting with all the department heads and their assistants (I think it will be around 40 people total on these scouts) and then the production meeting. This is a high-school horror-drama-comedy written by Diablo Cody (Juno) and produced by the Juno team for Fox Atomic. The director is Karyn Kusama (Girlfight, Eon Flux). It's interesting to note that before I interviewed for this job, I had just interviewed for a feature version of the "Ramona the Pest" children's books, to be directed by another woman, Elizabeth Allen (Aquamarine). But literally just as I was finishing that job interview, the director got a call from the studio that they were putting the project on hold, just after greenlighting it the week before and rushing it into production. This was as the strike was going on and there was no word from "Big Love". So I went back to looking for projects the next week. I had gotten the script for "Jennifer's Body" but was told by my agent that they had already hired a DP. Then after the "Ramona" interview, my agent told me that they wanted to interview me afterall for "Jennifer's Body". By coincidence, I ran into Patrick Cady around that time, who shot "Girlfight" for Karyn, and I asked him if he was up for this project. He said he had interviewed for it, but before the studio could make a decision, he was offered the job of shooting a 20-mil. remake of "The Stepfather" for Sony by an associate he knew. Anyway, it seems they hired Sam McCurdy, who had shot "The Descent" (and also "The Hills Have Eyes 2" for Fox Atomic) but due to a family emergency, he had to exit the project, opening the door for me to get hired. And it seems that even though the "Juno" producers were concerned that Fox Atomic might want another "horror DP", it turned out that they were familiar with my work on the Polish Brothers movies and had no objections. So there was some time lost in prep and I arrived in Vancouver, BC with just five weeks of prep before shooting. Now five weeks may seem like plenty to some folks, but it's barely enough really to thoroughly plan an entire feature shot-by-shot. Partly because huge chunks of my time were devoted to scouting for locations in a van, but also because the last two weeks of any feature prep are just insane for the director, due to the cast arriving, etc. So my time with the director really is the three weeks before the last two weeks of prep, and as I said, a lot of that time was spent scouting. The director, Karyn, had already storyboarded three or four major sequences before I was hired, so I concentrated first on the big sequences that hadn't been storyboarded. Finishing those, now we're getting through all the little scenes between the big scenes. We have about two weeks of shotlists finished plus all the major scenes storyboarded; our goal is to shotlist the entire movie, though it probably will require working together on our weekends off during the shoot. Like I said in another post, the 1.85 format was chosen before I was hired and I didn't really disagree with that. For one thing, the director wants a lot of low-angle shots where we see the dark trees and sky in the background so a more vertical frame makes sense. And also, I haven't done a 1.85 feature in awhile (though "Big Love" was 1.78) so it seemed like a good opportunity to work in that format again. And I get to shoot in 3-perf Super-1.85, which is nice. Since so much of this movie is at night, I decided to shoot most of this on the new Kodak 5219 500T stock. I shot my stock tests yesterday (5219, 5217, and 5212) and will see them next week. We are shooting Panavision, with Primo lenses. Technicolor Vancouver labs. Dailies will be transferred to 4:4:4 HDCAM-SR (a first for me) and SD. Technicolor uses a SANS to temporarily store dailies transfers on and then does all sound-syncing and then downconversions to different tape formats from that. I have a couple of shots where I'm planning on using the Phantom HD to be able to shoot at 1,000 fps -- I tested that on Friday as well. My Gaffer is John Dekker and my Key Grip is David Askey, both "Juno" veterens, as is the operator John Clothier (and the AD staff, and many others.) I interviewed a bunch of people for these positions though, so it wasn't like I was asked to hire back the same people. DP Karl Herrmann, who worked on "Kyle XY" I believe, plus 2nd unit on "Into the West", has agreed to be B-Camera operator, so it will be great having a talented DP on the camera crew to pick up shots. Stephen Maier will be A-Camera 1st AC. He's one of the top local guys here. So I'm excited about the crew we've put together. We start out the first week in a high school, shooting perhaps some of the most straightforward stuff, walking & talking in hallways, classrooms, etc. The school is somewhat windowless and fluorescent-lit unfortunately (compared to the wonderful old-world high school I shot in New Jersey for "Assassination of a High School President".) To help me out, the production designer Arv Grewal ( http://www.imdb.com/name/nm0340490/ ) -- a very talented man, we've had many fascinating discussions on art and movies -- will put a window flat plug at the ends of two hallways so I can create that daytime backlit sheen on the lockers that works so well in high school hallways. The science classroom is tricky too because it has two little windows at each end but nothing in the middle stretch of wall, so it's hard not to end up using the overhead lights. I'm hoping to create a fake windowlight effect in the middle of the room when I'm not looking at that wall. The basic look is what I would call "moody naturalism" -- hopefully the gloomy Vancouver weather will help in that regards, just as it did in "Jennifer Eight" for Conrad Hall. But with so much night exterior work in this movie, on deserted roads in the woods, etc. obviously I have to plan on artificially lighting those scenes in some manner. I feel that the setting, a small town in Minnesota surrounded by the forest, lends itself to something of a Grimm's fairy tale feeling at night, at least a hint of that. Creepy moonlit, etc. We're also using the photos of Todd Hido as a reference: http://www.toddhido.com/ That's all for now. I don't know how much I'll be able to reveal about the production, so my posts may be rather technical and/or non-descript sometimes. So the week after I started, the WGA strike ended, and my phone started ringing with work, including "Big Love" and a new Polish Brothers movie. So I may be going on to shooting something immediately once I finish work on this movie in early-mid May.
  33. 1 point
    I can only say that editing is one of the most important tools in the making of a film. It is by far one of the most creative crafts in the arts. You can completely change the tone of any piece in editing, based on the exact same footage the director shot. It can take a film from bad to good all by itself, and vice versa, of course. So whenever I see it getting pooh-poohed, and treated as merely assembly that anyone can do with the right software, well, I just very strongly disagree. It is highly creative and very few people are good at it. But most think they are.
  34. 1 point
    I've owned and shot with all of these cameras and still have a Bolex EBM and of course Aaton XTR today. Here are my thoughts on this subject. First and foremost, if you're doing fashion stuff, you'll want to put the camera in odd places to get unique angles most likely. One thing that nobody really talks about is the lack of a movable viewfinder on the Bolex or S/M. This means your face has to be at the back of the camera to check the shot. No video tap, no monitor to check framing, nothing. This is a HUGE inconvenience and it can be very costly because time is money and sometimes, that magic moment happens and if you're not able to get it because you need to put the camera somewhere where you can't be behind it and look straight down the viewfinder, you're in trouble. Second, lens mount is a big deal. I would say the Bolex C mount is the most versatile mount on the market. You can convert it to PL, Nikon, Arri B and many others, with adaptors that aren't too much money. Third, The Bolex also has a few features like being able to rewind for effects and hand crank if need be. The SBM and EBM can also run 400ft magazines, which is super nice to have and batteries are readily available. The Bolex cameras are NOT mirrored reflex, so the image is pretty dark compared to the newer cameras, which adds to the annoyance of having to look through the viewfinder from the back. Fourth, where I do like the S/M, I do think it's days are numbered. Mechanically, they are great cameras. However, they are a bit heavy and the motor and battery system is less than elegant. I got one for free (without glass) and wound up selling it because I knew I'd never use it. I shot with an Arri M once and it was a cool experience, but the Arri BL was a better camera because it was quiet and had a rotating viewfinder, which means you can put the camera on your shoulder vs holding it in front of your face. Where it's true, Arri (and Bolex) do have shoulder mount adaptors, they are hard to find these days. I would NEVER spend money on converting a camera to Super 16, you're literally throwing money out the window. The Bolex and early Arri cameras, do need quite a bit of work to convert to Super 16, it's not an easy process. So it's expensive AND because they were made for standard 16, all of the roller's, sprockets and even the gate, have surfaces that touch the image where it's not suppose to. With the Bolex, you can swap nearly all of them out, but not with the S/M. So there is a higher likelihood you'll get scratches in that area. The Aaton LTR is a first generation camera. I would steer clear myself having owned one. Where it's super lightweight, the cameras are getting super old and things like the drive belts for the magazines are no longer being made. So it becomes a huge problem over a short period of time if you aren't careful. Plus, LTR parts specifically are nearly impossible to find. They didn't make as many LTR's as XTR's, so where the XTR part supply does exist, getting LTR parts is more about finding a dead camera and yanking parts off it. From experience, they are very fragile compared to the Arri's, so screws come loose very easily and things bend/break much easier. I do think the LTR creates a more stable image than the Arri counterparts and I love the design (I'm a die hard Aaton guy), but I wouldn't recommend one to a newbie. I think they're good for experienced people who aren't going to use them very much. I struggle to keep my last generation XTR Prod in one piece. I personally wouldn't get near a multi-thousand dollar Arri S/M or Bolex. I've spent around $500 on BOTH of my Bolex and S/M. I think for that price it's worth the "investment", but for the pricing you're posting, no way. If you're doing hand held fun stuff, a very basic standard REX-5 H16 Reflex Bolex will do you fine. You can get them for peanuts, find a decent C mount lens and you're in business. They're wind-up, but they're cheap, easy to use and create great images if in good shape. Once you graduate from the Bolex, you can step up to an Aaton XTR Plus or Prod, for $8k lol 😛 (the prices are crazy these days) and learn what it's like to work a real camera. But lenses will kill you. Mod's will kill you. I mean everything kills you on the more expensive cameras. So you either go super cheap like the Rex-5 Bolex, or you throw everything at it and buy a modern real sync sound camera.
  35. 1 point
    Congratulations on your new job! You're not going to learn how to be a Director of Photography on an internet forum... So, just do you best. There is a reason you were chosen for this roll. Just show em' what you've got, tell the story, and learn along the way. Happy shooting!
  36. 1 point
    There was no 20mm B&L Baltar lens in their first series of lenses. The 20mm was introduced in the 1960's with the Super Baltars. So when I was about to rehouse my set of "Standard" Baltars I had to choose between lenses of the era, and I ended up selecting the 18mm Cooke S2 because it was matching them fairly well: The Cookes are warmer than the Baltars (which are very cool), but that's something that you can solve easily during a digital grade. The other options that I was considering were the 18mm Schneider Xenon (Schneiders and Baltars have something in common, probably Zeiss origins, and their look is not that different) and the Angenieux 18.5mm, but I couldn't find any Schneider or Angenieux lens suitable for the very expensive rehousing process.
  37. 1 point
    Leonardo Da Vinci observed this and wrote: "The shadows of bodies generated by the redness of the sun near the horizon are always blue: and this is because of the11th [proposition of the book on light and shadow], where it is said: the surface of any opaque object partakes the color of its object. Therefore, since the white-ness of the wall is deprived of any color at all, it is tinged with the color of its objects, which are, in this instance, the sun and the sky, because the sun reddens toward evening and the sky appears blue; and where on this wall the shadow does not see the sun, it will be seen by the sky, because of the 8th [proposition of the book] on shadows, which says: no luminous body ever sees the shadows that it generates; therefore, the derivative shadow will project on the white wall with a blue color, because of the above-mentioned 11th [proposition], and the shadow seen by the redness of the sun will partake its red color."
  38. 1 point
    You should color the light. The look of sunset is the combination of very warm sunlight and cool shadows, it just isn’t orange overall.
  39. 1 point
    After emailing around, it seems to be a costly and common issue where the dial contacts break or wear out. The difficult part comes from getting to the dial which requires freeing the PCB from a nest of wires and soldered on contacts. According to one person I talked to, a "donor" board is required to fix the problem but unless the issue involves some sort of proprietary or obsolete IC, I don't think that would be the case. I found a dead link to a site with visual guide to get into the 1014 XL-S and (sort of) how to perform the repair. Fortunately it was archived and I could visit it with the Wayback Machine. Here's the link in case anyone needs it: https://web.archive.org/web/20170915060308/http://www.nakanocam.com/8mm_page/canon1014xl-sfps.html
  40. 1 point
    The lightest is the #1/2 (though there is a rarer #1/4 that they made later). It is pretty subtle, has the least halation of any diffusion filter. I just used it the other day to shoot a scene where the camera is passing along a row of light bulbs in the frame and our normal Hollywood Black Magic filter was creating a too-dramatic halation. Technically an UltraCon filter is not true diffusion though anything that lowers contrast by scattering light will also soften a little. Go to 7:44 here:
  41. 1 point
    http://www.gutenberg.org/ebooks/44585 Scroll down to page 199 and let the adventure begin!
  42. 1 point
    I don't think I'll ever see classier home movies.
  43. 1 point
    Matt, No such table exists but a fun way to study IRE values is to take screenshots of interesting scenes and pull them up in a editing program like FCP and then looking at the waveform display on the editing program. Also, if you have photoshop you can look at the HSV (HSB) values - V (or B) being value or brightness and they are numbered from 0-100 and represent IRE. I like to take screenshots of just the face or maybe just a cheek or the forehead just to see how they exposed that part of the face. Once you start seeing these still frames through waveform you start to see patterns emerge. In a brighter outdoor settings I find that the main light is around 70 IRE for caucasian skin and lighter skinned asian and latino, maybe around 60 IRE for darker skinned asian and latino and caucasian and lighter skinned african american and about 50 IRE for darker skinned african-american. I find that moonlight the moon hits at around 40-50 IRE and tends to look a bit odd when over 50 IRE. Shadow areas of the face (fill side) on more contrasty scenes are usually around 20-30 IRE, and in some really stylized and over contrasty films it can even be from 0-10 IRE. In some people with very pale skin the main light can even be 90 IRE maybe next to a window or in direct sunlight. In a lot of fashion lighting the main light can even expose skin to 100 IRE and it looks natural and nice but you need a camera that can handle those highlights - I am pretty sure that the original photos were probably not shot at 100 IRE but that it was brought up in post to make it pop more in a magazine or on the internet fashion 'e-zines'. Rim lights and kickers that are 90 IRE are very common because a lot of people like to see a hot bright edge especially in music video settings. \ In 'darker' settings like candle lit dinner I would expose whiter skin at around 50 IRE and make shadow areas around 10 IRE. The same applies for lamp lit scenes during the evening. In moonlight lit scenes I might expose whiter skin around 40-50 IRE, shadows areas around 10 IRE. In daylight scenes where there is direct hard sunlight I might expose for 90 IRE, and shadow areas anywhere from 20 IRE-50 IRE depending on how contrasty you want it to look. I daylight scenes where it is overcast I might expose for 70 IRE and shadow areas would fall somewhere around 50 IRE because there is not much contrast during overcast days but I might add some negative fill using some floppies and bring the shadow side down as low as I can. In daylight interiors where the actor is near a window and there is soft bounced light coming in and the room itself is not lit - I might go contrasty like 90 IRE on the bright side and 30 IRE in the dark side or make it more subtle like 70 IRE key, 30-40 IRE fill. Again these are just broad estimates and it gets boring if you mechanize your exposures but the above should serve as a rough guideline as to how people expose different situations.
  44. 1 point
    That's pretty vague or generic because I can imagine a very bright night scene and I can imagine a very dark daytime scene. But in general, I think it's better to go halfway when it comes to making things darker, underexpose halfway to the darkness you like and then color-correct / print down to the final level of darkness. This gives you some leeway in case you change your mind as to the level of darkness.
  45. 1 point
    You have to be really careful when using dryer plugs as you have described. Yes, under certain conditions you can use them to power lights. If you look at the breaker of these circuits on the house distro panel you will notice that they use two pole breakers. Each pole of the breaker is in a sense an independent 30A/120 volt circuit. That is, if you measure the voltage from each pole of the breaker to ground it will be 120 volts, and if you measure the voltage between the two poles of the breaker you will notice that it is 240 volts. The 120 volts of the two poles adds up to 240V because the 120V circuits are on opposing legs of the single phase electrical service of the house and are therefore additive. In residential settings, this is how higher voltages are supplied to household appliances like Dryers, Electric Ranges, Air Conditioners, Motors, etc. that require more power than can be reasonably supplied by a single 120V circuit. Where each pole of the breaker is in a sense an independent 30A/120 volt circuit, you can split them out in a distro system but only under limited situations. The one situation where it is possible to use dryer plugs to power lights is when the dryer circuit is a four wire system (the receptacle has for slots: one for ground, one for neutral, and two for hot) and it is a single phase service. Where you can run into trouble is when the dryer circuit uses a three wire system (the receptacle has three slots: one for ground, and two for hot, and no neutral), or it is a three phase service. Many household and industrial 240V receptacles use a three wire system (no neutral) because they are meant to power single phase motors or heating elements that draw a perfectly balanced load and return no current because the single phase service legs are 180 degrees out of phase and cancel each other out – hence there is no need for a neutral return. You run into trouble with this kind of circuit when you start to pull an unbalanced load on your distro system. And, where under most production situations you can never perfectly balance your lighting load, the two 120V circuits that make up this 240V circuit (as described above) will not have 100% phase cancellation and the extra current of the high leg will not have a safe return path. The only way to pull power from three wire 240V circuits that meets code is to run your lighting load through a 240v-to-120v step down transformer. A transformer converts the 240 volts supplied by these industrial and household 240V receptacles back to 120 volts in a single circuit that is the sum of the two legs of the circuit. For instance, a transformer can make a 60A/120v circuit out of a 30A/240v circuit that is capable of powering bigger lights, like a 5k. What makes it safe to use a step town transformer with three wire 240V dryer/range/motor circuits is that the transformer automatically splits the load of whatever you plug into it evenly over the two legs of the 240V circuit. Where there is no high leg, the loads on each leg of the 240V circuit cancel out and there is no return that would require a separate neutral. Use this link - http://ls.cinematography.net/read/messages?id=148478 - to a recent thread on CML on this same topic. By giving you access to more house power through common 240V house outlets, a transformer can quite often eliminate the need for tie-ins or generators. Guy Holt, Gaffer, ScreenLight & Grip, Boston
  46. 1 point
    You can also slap a Tobin TXM-22 into the Arriflex 16S and shoot crystal sync all day long. The Arriflex 16S is light, extremely durable, and very comfortable to hand hold. And if you get an S/B model, you can use the Zeiss Super Speed Mk1 prime lenses. My personal favorites are the Cooke Kinetal lenses for the 16S, which I find a bit more "snappy" than the Zeiss glass. Hope that helps, -Tim
  47. 1 point
    Tungstens can also come in PAR or Fresnel designs, not just HMI's. HMI's are just daylight-balanced lights. They aren't "better" for lighting faces. They are just for when you need a 5500K light instead of a 3200K light. They are also more power efficient than tungstens (although also more expensive), so a 1200watt HMI PAR is almost as bright as a 5K tungsten. A 575 watt HMI is as bright as a 2K tungsten. A car headlamp is an example of a PAR light.
  48. 1 point
    Parabolic Aluminum Reflector. It's a sealed-beam (non-focusing) light that can put out intense light over longer distances when compared with other types of fixtures (like fresnels, open faced, and broads). Fixtures are either tungsten or HMI. HMI PAR: HMI Fresnel PARs have a "dirty" pattern, ie. the center of the spread is very intense (you can sometimes see the filament projected) while the outer area is less intense; becasue of this, some PAR heads allow the use of lenses to widen or soften the beam. PARs are usually what I use for "punch"-- they're great for slashes through a window, backlight from a distance, etc.
  49. 1 point
    Hi, > 1. With the so-called "film style" lenses, for example the Optex 7.8 - 164mm, > would the characteristics of the depth of field be similar Depth will be identical for the same stop and focal length for any lens on a given sensor. Falloff characteristics could change, but this is subtle. Exceptions include macro lenses and of course groundglass projection devices. > 3. If one was to pull focus from 20ft to 10" how much barrel shift can one > anticipate? Depends on the lens, and the focal length you're using it at if it is a zoom. > 4. I have also become aware that the lens measurements on a digital lens are > slightly different to those on a film lens. 8mm on a J16 ain't 8mm on a Zeiss > Distagon. Could somebody please explain to me the reasons why? There doesn't appear to be any very good reason why the marks on some video lenses are inaccurate. They just are. Phil
  50. -1 points
    Throw them all away and use bi color LED,s.. its 2020..
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