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Phil Connolly

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Everything posted by Phil Connolly

  1. Phil Connolly
    That's not the "Euro look" its classic "Teal and Orange" https://petapixel.com/2017/02/23/orange-teal-look-popular-hollywood/
  2. Phil Connolly
    A small wifi dimmer pack for remote controlling tungsten with and app would be good. But thats more an undergrad electronics project Or a light that could track an object and real time and adjust its output in real time to maintain the same exposure - negating the inverse square law. That would be a bit more fun
  3. Phil Connolly
    Look at dragon frame as well. Most animators use that as its got extra tools for onion skinning and tweening. It's better to use fully manual lenses. Some lenses with electronic Iris/focus risk shot to shot movement resulting in flicker etc.. If you need to stop down to get enough DOF, use long exposures rather then ton's of light. The main issue is to make sure nothing moves. Weigh everything down, make sure your lights don't move, get knocked etc.. So you want secure chunky light stands, mounted on a solid floor etc...
  4. Phil Connolly
    It's impossible to tell because storage temperature will be a factor and you don't know how warm it's been kept over the last 30+ years. Room temp is a wide range. Slow stocks do age better, but 30 years is a long time. It's probably very fogged, but it might work for an interesting look if you overexpose by at least a stop. Normally in this situation you'd send it to the lab for a clip test. They would cut off a short section and process it to see if is usable. Unfortunately that's not doable on Super 8, you have to process the whole roll at once. If you have multiple rolls shoot one as a test and get it processed first. If you only have 1 roll it may or may not work - so a gamble. Don't shoot anything important on it. I was given a bunch of "room temperature" stored stock by a friend, about 30 rolls mixed 35mm and 16mm. So a nice find - I got clip tests done and it turned out to be completely unusable. Lucky I didn't try to shoot anything on it. Turns out "room temperature" was my friends shed, which becomes an oven in the summer - completely destroyed the stock. It was a disappointment.
  5. Phil Connolly
    If you join the DGA would they force you to pay yourself more?
  6. Phil Connolly
    Good point, playing with the photoshop directional blur only goes part way to replicating the look. This AE demo has a similar issue, but I think the resulting look is quite usable:
  7. Phil Connolly
    Still somebody with actual VFX chops could do a much better job, then I did in the test above. I was thinking some form of Luma key to allow a greater level of blur to be applied to the highlights - would probably get you closer to the look. This was a quick and rough demo, I just didn't have time to go down a photoshop rabbit hole today. It's also quite and abstract look, so exactly nailing the look you get with film may not be needed. You could still replicate the general "feel" of the shot without the audience going "that looks digital". Its different to grain effects where people have more experience of "film" and may spot that "digital" looks wrong. In this case "not right" is very subjective. Considering the hoops you'd have to go through to achieve this on film and potentially end up with a result your not happy with, as you have no way to judge the strength of the effect until the footage is exposed. A post solution might make more sense. To be honest if you did it in camera with film 99% of lay people watching it would assume its' some form of digital post filter
  8. Phil Connolly
    Is "food Vs no food" the new "digital Vs film?" There are dangerous waters, but I guess we should only feed the cast and crew 1940's tins of spam because thats was Chris Nolan does. Deakins is a traitor for demanding vegetables... This forum is so Polarising
  9. Phil Connolly
    Quick experiment with the direction blur in photoshop
  10. Phil Connolly
    I would imagine not - as the streaks are caused by the film physically moving when the shutter is open. So a static chip can't do that regardless of what a physical shutter is doing. You could probably get some interesting banding if a physical chip was out of sync with a rolling shutter, but it would very different. It's probably easier recreate in post anyway. Even on film it's quite risky in terms of what the result would look like. Blur filters in After effects can be applied in a single axis quiet easily.
  11. Phil Connolly
    I think they shot a big chunk on digital, which as we know is the most expensive shooting format.
  12. Phil Connolly
    I think, Robin is talking about the basic sync errors caused by the amateur hour editing. The pace was out of wack - some shots lasted longer than 3 seconds it was so booooooooooooooooooring This Scosesis person, should fire that Schoonmaker person and get Michael Bay to supervise the edit of his next Joint. If he's ever given chance to make a second film (which I doubt)
  13. Phil Connolly
    Tell me they at least, they included a post credit scene... I saw the trailer for the Irishman, they can't even do CGI correctly. I barely spotted it, what's the point of CGI if its not visible? The marvel films are much better on this front, you really tell which elements are CGI.
  14. Phil Connolly
    It may be entertaining but is it cinema?
  15. Phil Connolly
    Gimbals can look a bit "robotic" at times. I prefer steadicam, but you need a op and that gets expensive. It's not something as a very, part-time camera operator, i'd try and do myself . I think you have to fully commited to the art of Steadicam to really excel. Gimbals are better for those of us who have to do a bit of everything... Recently I've been embracing hand held a lot in my own work, maybe that's a reaction to the gimbals and an attempt to have a more human feel.
  16. Phil Connolly
    I think they might have been modded, as I understood it was the CNE's were EF only (except for the zooms) and the set was a bit gappy for a long while with nothing between 14 and 24. They now have a much needed 20. The Sumires look really nice but at a different price What I liked about the CNE's was how good they are at the price point. They look and behave like more expensive glass.
  17. Phil Connolly
    The CNE Primes are great, shame Canon didn't do a PL version, they are really under used in general.
  18. Phil Connolly
    I found the same, a few early HD cameras were worse then good SD cameras. But clients wanted HD cos its HD innit. The Z1 was very popular around the time and it was pretty grim as well.
  19. Phil Connolly
    The PAL 970 was had progressive 25p as standard and 20% more resolution. From the brochure: Film-like Images with Progressive Mode Incorporating Sony Power HAD EX CCDs, the DVW-970 (NTSC model) and DVW-970P (PAL model) generate progressive images of 29.97P and 25P respectively, delivering outstanding clarity as well as a cinematic look. In addition, the DVW-970 (NTSC model) can produce 24P images when an optional CBK-FC01 Pull-down Board is installed, offering film-like motion effects. Images captured in 24P scanning mode in the camera head are 2-3 pull-downed and recorded on tape at 59.94i field rate. In the UK 25fps was preferable anyway vastly easier to post produce at the time. Even indie movies on super 16 were usually shot 25fps to avoid needing the more expensive Avid Film Composer. I prefered the (pal) 970 the first varicam at the time. It was pretty close in terms of resolution but 10 bit with less compression compared to the 8 bit DVCPRO
  20. Phil Connolly
    I shot a sitcom pilot on the Pal version in 25p. I was really impressed with the look at the time - we screened at the BFI and the image really held up on the big screen, with only the wide shots giving away that it wasn't HD. It looked a lot better than the Z1 footage from the second unit. I didn't use the starfilter though.
  21. Phil Connolly
    The LF is available in Mini format for more flexibility and the the LF records internally in the camera, the 65 requires an external codex recorder. So Stedicam on a 65 is harder, as you'd either need to be tethered by cable to the recorder, or deal with the extra weight if mount it to the camera. So that potentially makes the LF and mini-LF are a bit easier to work with operationally. A 65 won't work on a drone etc... Quality-wise i'd imagine intercutting between LF and 65 is very close visually unless you pixel peep,. Its not a massive visual issue to use LF's on a 65 show. On a 4K or 2K finish the different won't be noticed by most people in the audience. Plenty of shows have intercut standard Alexa and 65 without audiences revolting. Moving forward, I would imagine a lot of big 65 shows would find a LF Mini for drone, gimbal and stedicam potentially more useful then a second 65 body And cost is still potentially a factor - even big budget shows would keep an eye on it. Also availability, there aren't a vast amount of Alexa 65's in the world. So you could run into a supply issue - especially if you needed several cameras for a big stunt sequence. You might find there aren't enough 65 bodies available.
  22. Phil Connolly
    The nice thing about stedicam is it normally comes with a stedicam operator. But a lot more expensive, think about 2 to 3 sound recordists for a good one.
  23. Phil Connolly
    Generally I can find something in a shoot that allows be to practise or learn things. I've done some quite dull multi-camera sports camera operating in the past. On those, I'd try to keep it interesting by operating the tighter shots, forcing my operating to work hard. Doing the wide shot on a football match? Thats hard to stay interested. The UK weather doesn't help. I have done some corporate type jobs as a director/self-shooter where it's really hard to stay motivated when the content gets so dull and you run out of ways to make it interesting or you don't have time/resources to do the job properly. That's when I lose faith, when I'm doing a job, that I know it won't have a good outcome and it's hard to fix it. E.g the client wants to be the presenter etc. etc. I realise I should stop taking those jobs.... I am trying to be more selective, but it's very hard on the freelance market, some you have to take what comes. It can be pretty lean pickings on the directing front (in the UK) because of the amount of competition and low rates offered. I also say "yes" too often because of that early day freelance fear of not affording to say no. It's a hard habit to get out of, even though at the moment. I have too much work on my plate. I probably should have turned a couple of things away, rather than killing myself to do them.
  24. Phil Connolly
    Indeed or the 2.5k Blackmagic cinema cameras are probably coming down into the price range. Although lensing on both might be an issue if you want "all in" for £600
  25. Phil Connolly
    Sometimes with digital the industry come's together and compromises on a set of workable standards. Audio CD's and DVD's were an example where every manufacturer worked on a compatible format. And cinema DCP's have an agreed standard. But I agree, in camera town fomat wise, its crazy. Also the camera manufacturers don't always talk to edit software producers to attempt cross compatibility. I've encountered some weird camera formats that take really convoluted routes just to get the footage onto a bog standard Avid timeline. The panasonic 3D camcorder was particularly painful to post produce, I still have nightmares....
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