olan

Hello, You can?t remove the ground glass and keep the DOF. David is right the effect without the ground glass would be a kind of field of view more much telephoto. Believe me I already tried with my homemade adapter it doesn?t work. If you want to have the DOF and no grain you can use the movietube adapter, the ground glass is in wax and there is almost no grain. You can find all the info you need on http://www.movietube.com Cheers olan & olivier director/dp/editor/colorist brussels. belgium www.theblacksheep.be http://dp.theblacksheep.be

Are the screens settings the same on each camera? olan & olivier the black sheep director/dp/editor/colorist brussels. belgium

Hi, When you use a mini35 adapter on a XL2 camera you have to remove the canon lens to put the adapter (using an intermediate lens). But there is no electronic connection between the camera body and the adapter to control the iris witch means that you have to change your f-stop manually on the cine or photo lens ring. That?s why the aperture ring of the canon camera body is useless when using an adapter. Even if you use an adapter on another camera, like the Sony Z1 for example. You will still be able to use the aperture ring of the camera body to change the f-stop of your in-camera lens but it will not affect the DOF of your frame because you have to focus on a 2D frame that is projected from the cine or photo lens on to the ground glass inside the mini35 adapter. The camera is simply filming the frame that is projected true the lens on the ground glass. It?s the same principle that is use for the telecine. But if you want to loose DOF when you are using an adapter. You can simply apply the same trick that your friend used with the XL2 but it?s the cine lens that has to be wide open. Have a nice day, olan & olivier the black sheep director/dp/editor/colorist brussels. belgium www.theblacksheep.be

Hi, We?ve just shot a video clip on canon H1/P+S adapter/cook S4. You can have a look here http://www.cinematography.com/forum2004/in...showtopic=15727 The camera shutter was at 1/50 for 120 ASA and lenses were always open at f2. If you have any questions? just ask. Good luck for your shoot. Olan www.theblacksheep.be

Hello. You can have a look here http://www.beachtek.com/dxafx.html and here http://www.bhphotovideo.com/bnh/controller...oughType=search it works good. Olan the black sheep creative film video & photography 0032 477 82 72 20 - www.theblacksheep.be

Hello. You can have a look here http://www.beachtek.com/dxafx.html and here http://www.bhphotovideo.com/bnh/controller...oughType=search it works good. Olan the black sheep creative film video & photography 0032 477 82 72 20 - www.theblacksheep.be

Hello again, Mr Mullen, correct me if I?m wrong. Maybe it will be too late for this job but it?s good to know it anyway. When you shoot in video it?s better to have a cold white balance, this give you a more ?clean? image whit more information. Why? Because the red channel of video is the most sensible to compression artefacts. If you have a warm WB it means you will have more information in the red channel and by definition more risk to have compression artefacts (if you have artefacts you have no information to work on?). If your image is too blue it?s easy to warm it up by adding some red in post-production. I don?t remember what kind of setting you can have with the DVX 100 but there are two tricks that works with all kind of video camera when you want to have a cold WB: - When shooting in daylight, you can set your WB on tungsten preset. If it?s too blue? - You can make a manual WB by using an orange card. The more orange is the card the colder will be the WB? If you want to be more precise you can use white diffusion gels on the card. For example a ¼ dif or a ½ dif. More diffusion = less orange = less cold WB? I don?t know what are your knowledge in video so if you have more questions feel free to ask, I don?t have that much experience since I?m not that old but I have some experience anyway and will be happy to share it. Have a nice day, Olan +------------------------------------------+ The black sheep Creative film video & photography 0032 477 82 72 20 www.theblacksheep.be +------------------------------------------+

Hi, 3x 650w is more than enough for what you have to do. Anyway if you think it will not be enough power, try not to shoot too wide. The closer you are from the subject the less light you need to have a good exposure. Don?t forget to expose for the highlights and not for the shadows. When you shoot in video, it?s always better to be underexpose than overexpose. good luck Olan the black sheep creative film video & photography www.theblacksheep.be

For me it was the first shot in "Breaking news" from Johnnie To. Maybe it?s cliché but I?ve always been impress by that kind of never ending shot. But I?ll try to have a look at this close up shot in ?King Kong?. I was also impress by some shots in ?Million Dollar Baby? (it's the kind of lighting I really like)I think it was produce in 2004 but we were already in 2005 in Belgium before we could see it. In another category the most strange or funny shot I?ve seen this year is in ?Kiss Kiss, bang bang? (from Shane Black not Stewart Sugg). It?s a simple shot in the street but the ½ of the frame is completely red and the other ½ is blue. If anybody understand what the d.o.p have been trying to do?or maybe it was a bug in the copy? Anyway? Olan Bowland creative film, video & photography www.theblacksheep.be

Hello Jeremy Thank you for the advices. As you said horses can really freak out if they're not trained for film, that?s why all the lights were installed and we were ready to shoot before it came on the set. That way, when the horse came on the set, it has the time to ?make knowledge? with what was around and go where it wanted to go. All we needed to do was to turn around on our self to keep the horse in the frame. The most important was to keep calm and not make too much noise. About the camera, we mainly used the 35,50 and 85mm. As the horse was at maximum 10 meters from us, we never needed a longer lens. For all the close up shots we used the same lenses, thanks to these small snacks biscuit we had on the set, the horse was calm and very cooperative, we only had to put some of them where we needed to have the horse and we did get what we wanted (for example: when the horse is almost ?kissing? the singer, it?s because it was eating the biscuits behind the singer?s head). Anyway, it was a great experience and we learned a lot of thinks on this project? We hope you like it? Olivier Vanaschen &Olan Bowland +------------------------------------------+ the black sheep creative film video & photography www.theblacksheep.be +------------------------------------------+