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martinboege

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    Cinematographer
  1. Thanks David, it seems good advice, any ways it will always be better to see through them!
  2. martinboege

    red pro lenses

    Hello everybody! I am interested on buying a new set of RED PRO LENSES, since the price is affordable and they have put them in the same quality (they say) and resolution than the arri master primes, any thoughts about this? Thanks
  3. Hello, I am shooting a test for a feature film involving a phantom. I will try a piece of glass 45degree in front of the camera and light that subject just as the peppers ghost technics, does anyone have done this before?. Any ideas on how to achieve a non CGI Phantom? Thank you very much. Martin Boege DP, Mexico.
  4. Thanks for the advice, So the 5201 LUT has no opinions?
  5. First of all thanks for the replies, This is a great place to share ideas. The point is, may be the color shift does not happen scene by scene, but from dense scenes (dark ones wich tend to some color near the cyan, and bright scenes wich tend to redish tones), not all the same. This is the problem, we know that, but the C-reality telecine in Da vinci 2k, had turned all the chroma down, balanced for B&W, there is not a chance of getting those colors to the transfer, is there?, How is that possible if all the scenes have been monitored always with the waveform monitor and vectorscope and all electronic stuff, and the chroma was always cutted away?. The solution is in the timing I think, because we tried all ready to take out the chroma in the laser graphics machine in the data to film process, and the result was the same. So the color shift is in the lab, I think. greetings Martin Boege DP, Mexico City
  6. The D.I, was pure B&W, the problemis that it actually shifts from one scene to another, some may be one color and some in others, so there is no such thing as one light for all the print. I dont know if it is problem of the lab.
  7. The question is if someone has done a DATA to FILM using a laser graphics machine, wih the Look up table (LUT) of the 5245, but ussing the new 5201 with the exactly same numbers. I did a test and seems all right (Its a B & W film, so it has a nice contrast. Just wondering if some one has done this before... Thanks The second question is: I send the test print and I have to keep putting filters in timing. Some takes are cyan, some red, sometimes I need half points in the timing but they dont have those. Will my Black & White film have always some color? thanks... pd I shot in 5222
  8. Hello there, I would like to post some doubts I have: I am about to get in to the telecine for a color correction (black and white (5222 in this case), to make a data to film for a feature film. Final images for the data to film are in hd (not enough money for doing it in 2k or 4k). So I did a test and my problem is the amount of digital grain that the whites brings out . Also when ussing a power window to darken for example the bright sky. So the question is, what should be the tolerance the, "reality" telecine may bear for bringing down the lights in the power windows; and the other is if the rule of keeping the whites below the 95% ires is something to follow trluy. I hope my post is clear for every one, These forums have been very usefull to me.. thanks.. martin boege dop, mexico city.
  9. Hello there, I would like to post some doubts I have: I am about to get in to the telecine for a color correction (black and white (5222 in this case), to make a data to film for a feature film. Final images for the data to film are in hd (not enough money for doing it in 2k or 4k). So I did a test and my problem is the amount of digital grain that the whites brings out . Also when ussing a power window to darken for example the bright sky. So the question is, what should be the tolerance the, "reality" telecine may bear for bringing down the lights in the power windows; and the other is if the rule of keeping the whites below the 95% ires is something to follow trluy. I hope my post is clear for every one, These forums have been very usefull to me.. thanks.. martin boege dop, mexico city.
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