Iga Mikler

Hi! I accidentally formatted a xqd card in camera on Sony fs7 and am wondering if anybody knows if I somehow can retrieve the material? Many many thanks

Im wondering if anyone can tell me what settings are best to use on the epic with 2x anamorphic lenses? i get different responses from people and it gets confusing.

Need Lipo battery 4s (4cell voltage 14.8)and xt60 connector to solder together preferably at the same store. Would really appreciate any suggestions where i can get hold of two of these- around 5000 mah Many thanks

Im doing a music video and wondering the fall of on the par64 cans 1000w? Also the differences between cp61,62 and 63 Many thanks

here is also a pic of the room. its 5x5m

hello. im shooting inside a hotelroom and am wondering if a 12k dinolight would reach inside the room and do the job. i want a sun feel. im shooting in uruguay so the light here is hard. this incase of clowdy day. and when sun dissapears. my intention is to use mirrors on sunny day also the sun. the choice i have is a 6k hmi on a kondor or to put a 12k on the roof on the opposite side. any advise for me? any calculations i could do somewhere? how far does the 12k reach? and where does it fall of drasticly? i am attaching images of the hotel room, and the street so u can approx see how far it is to the other side. also a link to the light. http://www.musitelli.com/site/products.php...ini-maxi-brutes muchos graccias!!

Hi! Im a filmstudent and did my first technical grade from s16 at the lab. I was really concerned about the quality, and primarly i wanted to do the best light from the neg as i have done in the past, but wanted to try out to work in the di suit this time. I asked for uncompressed material to have the best quality to work from in the di suit and scanned everything to hard discs instead of outputting the material to hdcam sr tapes. When i got back to the lab to get some tiff sequences for some special effects we have, i found out that the technical grade on my discs are uncompressed quicktime files, not dpx files as well as it has bit 10 4:2:2 color deapth instead of 4:4:4 RGB as u get when you scan to hdcam sr tape. so my question is how much will this effect my work in the di suit? they work from dpx files in the di suit, so i am also lost with what they will do to the uncompressed quicktime files. should i just have stuck with the hdcamsr option from the beginning? Is there a better way? should i ask them to rescan my material at the lab? since I asked for best quality, and i did not know this would effect the color deapth? I am doing the hole processing at the same lab. Im eager to know what the best way to do these techincal grades are. Im learning by doing but dont want my film to suffer. And i want the best result so i can save the end product on to a hard drive to be able to do a 35 print. (should i go to hard drive or hdcam sr tape with the finished product? to go to 35 print?) thanks

thanks Guido, ill get back to you:) So sorry Chad! my bad!:(

Hi! Im a Swedish filmstudent going to Argentina to shoot our final project, a short film on 35mm. I have never been to Argentina nor do i speak spanish. Does anyone know of where i could get hold of a 2 perf 35mm camera in Buenos aires or nearby and grip and lighting equipment? And a Lab where i could develop the film? And also english speaking crew? Grateful for all info. thanks.

I am wondering about if anyone built a china ball that is wireless meaning battery driven? I am thinking of using it as a fill in some exterior shots where i am moving alot with the actors (hand held) cu but they are walking through a big area that i cant control by lighting it..low budget school project.. there are street lights but as they go in and out of them its pitch black...

Hello. I just shot a project where the objective was to get a portfolio piece and credit, i wont get into the details but basicly i got screwed over big time. there were no contracts signed in pre or during production. though after we shot the material the director decided to go reshoot half of the project by herself(first time director) she was unhappy with the directing *i was very happy with the visuals and also did not understand what she was so unhappy with. Anyhow she took a small video camera and reshot the other material that was shot on 16mm. she shot it completely differently. she then edited it went back to online it and did a best light on her own without letting me know and released the footage to Television. Then followed the contracts, one where it stated that i was the DOP and she did the supplementary camera work (i had not even seen the finshed work at that point) and i did have a discussion with her before she reshot the footage that i might not be able to have my name on the finished product because as a DOP i have responsibility for the entire product and i did advise her we reshoot it on film. so the producer had another contract in hand just in case, where it stated that i resigned my credit as DOP. so i crossed out DOP in the first contract and put my name down as suplementary photographer. at the same time i got another contract saying i have to delete any footage that i have that concerns the video, that i cannot use any of the material accept what is in the final project for my private use like portfolio. (i have of yet not signed this contract because it really feels wrong to sign it) I did nothing wrong. The entire collaboration during pre and during production went great. we never had any fights or arguments with the director or producer until this beef with that the director completely cut me out of the picture to go reshoot herself. what really disturbs me is that they are trying to be very professional about this project after the fact that its been shot, with all these contracts. But if you are trying to be professional you better be professional all the way and they have not. To add to the story is that the budget was 10 000 dollars. i got 300 dollars for my work, 3 shooting days. I had got a 16mm camera for 300 dollars from a friend and lights for free and a juicy student discount on the film stock and lab process. i had the smallest crew ever, a friend of mine that worked for almost nothing.. I dont have any of the footage and i know i lost that battle, after trying to talk reason to the director and producer, the footage is owned by the client that only consent me to use the final version in my portfolio. Now all i want to do is try to protect myself against these things happening again. like what if one does get into a beef with the director during production (it has happend in the past but i always finished the project) but what happens to ones name if the director suddenly fires you and brings someone else in to finish the project? or when you finish a project but they want additional footage and someone else films it and grades it. and it does not look right? that actually has happend to me in the past but i was away then. I have invested 8 years in the field of DOP and worked very hard on projects for almost nothing and have come to the point where i am concerned about my reputation. Living in Europe when you dont have union or agent to protect you and still student i am wondering what sort of contract i could draw up to best protect myself. Because this kind of disputes is taking up way to much energy. and this buisness is filled with a*** and all i want to do is protect myself and my name as best i can. so any good advise on what to put in a contract would be very helpfull. thanks.

I am not from the states, and have a friend going to Nashville. it would be simplest to buy it in the store. so again if anyone knows a photo store there..id b greatful for the information. thanks.

Hey! does anyone know of a photo store in Nashville or Knoxville where i can find the sekonic L 758Cine digital master? thanks!

i think if you tried loosing the detail shots of the cooking process your reel would be stronger visually.

cheep option- Writv Katowice, Poland. People who get in to this school are amazing, and you will learn more from these people then anywhere else. The professors have all graduated from Lodz filmschool, the most famous filmschool for cinematographers in the world. the education in Katowice is 3 years, 4000dollars/ year. The Winner of Camerimage this year was a student from this school. Or other option is Lodz filmschool, though it is 5 years, and tuition is 3 times as much per year. you will shoot on filmstock every year. (1 film per year in katowice- 2 films per year in Lodz) but you will have to learn polish. you would have to go to poland a year before and invest in learning the language. that is also very cheep. and you could get that degree in Krakow, wich is an amazing student city, people from all over the world come here to work and study. and best of all, food and living expenses are super cheep. http://www.writv.us.edu.pl/new/rekrutacja.htm http://www.filmschool.lodz.pl/english/indexe.htm

I have cupple questions that I am hoping someone could answer. I am preparing for a shoot that starts next week- I will be using the panasonic Hvx 200 with the P+S adapter and the 35mm lenses. As I will have some of hand held shots I am trying to configure the camera, so that I can have the body of the camera on my shoulder instead of on a unstable shoulder mount that would imply that the hole camera set up would be very front heavy. But by having the body on my shoulder I will not have access to the viewfinder or LCD screen, so I am thinking of getting an additional external Monitor for this purpose. So i would like to use the smallest possible monitor, around 4 inch, so it doesnt add to the weight, but also I am wondering if this monitor have to be a HD monitor? I want to use a bigger HD monitor for the director, but also for my own purpose to check color and resolution and contrast. So my question is- can i output both a ntsc signal to my little oncamera monitor (if I choose to go with the cheeper option- a regular ntsc monitor and not hd) and get the same image size (unstretched and uncropped) AND output to the HD monitor and have a HD signal to the big monitor simultaneously? Also i am wondering if i use this little monitor, is there a way to attach it to the camera so I can see the image having the camera on my shoulder. If you could help me answer these questions or know who I should contact to obtain this information, That would be VERY helpful.

hey there! i am trying to prepp for a shoot i have in two weeks. But as the rental company only lets people come prepp the day before the shoot, i feel uncomfortable to leave my theories to last minute. My thought is to use the panasonic hvx 200 with the P+S adapter and the 35mm lenses and mattbox- heavy lifting if you cant rest it on the shoulder and not the same camera flow I am looking for, so my idea is to put the body on my shoulder, but doing so i cant get access to the viewfinder or lcd screen, so i was thinking of using an external small monitor that i would somehow attach to the camera. then is the issue of the rods that come with the P+S adapter in the bottom, not that comfortable on your shoulder, so would like to pad that somewhat- suggestions? and lastly i would like to use two sticks in the front, to hold the camera with, but am worried how all of that will attach together. if anyone has prepped this camera in a similar way, please give me advice- Also to be added i am a small girl, so for any grown man it might not make a difference to put the hole construcktion on some kind of shoulder pad and have the hole weight in the front, but for me i dont think that is the way i want to go. thanks, iga

hello! I red this paragraph in a book by Serena Ferrara about the steadicam, could someone explain how the roll movement works? i am trying to implement it to my thesis about camera movement. "By the end of the 1930s, the camera could be moved in almost any direction imaginable. New tripods were capable of the roll movement. In addition, due to new kinds of friction heads with gears that could block or adjust the friction, the operator had better control over the movements" thanks!

Hi! Im am working on a paper about camera movements, and am wondering if anybody could explain "the roll movement". In the 1930s there were tripods developed that enabled this movement that "resembels the view from a boat at heavy seas". i would need a more accurate description of this kind of movement. would appreciate if anyone could answere this question. /d student