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Joseph Zizzo

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About Joseph Zizzo

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    Cinematographer
  • Location
    new york

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    http://joezizzo.com
  1. Hello all -- Does anyone have any insight on how to get an in-camera off-sync shutter streak effect on a contemporary digital camera, i.e. Alexa? A là this well-know spot by Frank Budgen: the double image shift effects are pretty cool too, no? thanks...
  2. i just had the opportunity to see "the master" projected on film. it was so powerful i went back again the next night and saw it again... powerful race car indeed! even though "the master" was originated on 65mm, primarily, the first time i saw it, it was projected digitally. by comparison, the film projection was like a magic potion... that said, does the average movie goer notice the difference, or care...? sadly, probably not.
  3. i think your idea of bouncing light from outside the car is the way to go... but the bounce should be big, 12'x12' (3x3m), so that you achieve the low contrast you are looking for. you don't want to feel the source, you want the light to feel totally ambient, like it's just there. for that reason, you should stay away from putting a kino in the car, i think you will feel the source too much for the vibe you are going for. of course you can always try it to see what it looks like, then turn it off if you don't like it. anyway, put one12' bounce on either side of camera, and make sure the light is evenly spread over the whole bounce, no hot spots. then play with the levels until you have the level of contrast you like. you could then put some diffusion on the windows that are out of frame, just to smooth the light out even more, if you think that's what you need. you can then add in an edge light, and/or one of many possible moving lights to suggest movement, if you desire. there are tons of gags you can do with poor man's process, but the trick is to pick only one or two that really work, and do those.... you don't want too many bells and whistles or you will lose the organic feel. alternatively, there are very thin led's - 1/4" (6mm) or so - that you can easily tape to the ceiling of the car, but i don't know if you have access to them where you are. they were first used in the film, "collateral", which if you haven't seen it, has a lot of night car interiors, and it may be a good reference for you. you can buy them on amazon (and lots of other places i'm sure) if that is an option for you: http://www.amazon.com/Electroluminescent-panel-backling-sheet-inverter/dp/B006YGG292 good luck and have fun!
  4. other topics have touched on this subject, but i wanted to raise two very specific issues about flicker using AC power at 60 Hz, and using tungsten lighting with the phantom flex. has anyone seen tungsten flicker at frame rates around 200fps? if so, what size lights and in what circumstances? also, has anyone successfully shot a scene - with no flicker - that includes existing sodium vapor/metal halide, which be impossible to avoid in backgrounds? at what frame rates? thanks, joe
  5. does anyone know who has these in LA? thanks.
  6. ok, so ARRIRAW just represents a lot more data to deal with then... which sheds some light on why so many series record to tape. thanks.
  7. thanks, guys... phil, if you don't mind elaborating a bit, what is the difference between posting red footage - which i, perhaps mistakenly, thought to be uncompressed data - and posting ARRIRAW data? i understand you're saying the latter is slower... but red footage used to take a day to transcode as well... now it can be done on set as we shoot. ids red data just that much more compressed? thanks.
  8. ok, so i understand that the workflow has not been really worked out yet for ARRIRAW, and that handing over tapes at the end of a job is easier... but i remember this being the case when the red was new, no one wanted to use it for a commercial because the raw, file-based workflow was not understood, and everyone saw it as a problem. now the red is, in my world at least, the go-to digital format when film has been abandoned... and everyone understands the workflow, data is backed up on set as we shoot, it's no longer a problem... so, if ARRIRAW is a superior format when compared to shooting s-log to hdcam (and certainly when compared to the red), in terms of resolution, dynamic range and color rendering - i mean, arri went to the trouble of developing it for a reason, i'm sure - would any of you think that it is just a matter of time before people adapt to the work flow issues, as happened with the red, or are there larger problems than that? in other words, is it worth pursuing raw workflow for short jobs, or am i just going to end up looking like some obsessed perfectionist on a mission!? thanks.
  9. Joseph Zizzo

    D21 workflow

    what's the best way to go for short jobs, like a commercial or music vid, in terms of a workflow when shooting with the D21? shooting on tape seems a bit stone age to me, since i've been working with the red quite a bit the last year and a half. but are there advantages to tape? there must be, since a number of tv series are done that way, so i've discovered... thanks in advance.
  10. what kind of project? feature, short, commercial...?
  11. ok don't everyone talk at once...! so we ended up with a 5k lumens projector, just by virtue of the rental house the prod designer went to, and it was just about right after some half CTS and minusgreen were added... for all it's virtues, that RED is a light-sucker, to be sure. just thought you'd like to know!! joe
  12. i'm doing a scene with a guy doing a presentation with a slide projector, shooting on the red... which i like to rate no higher than 250 ASA. do any of you now if a 3000 lumens lcd slide projector will be sufficiently bright, 8-10' from the screen in a conference room scene, shooting at f2 - 2.8. the image on screen should be the brightest thing in the room, balanced against a subdued daylight, 2 stops under or so, with the drapes closed. i have only used big massive projectors, 10k lumens and up, for lighting effects, so it seems like a 3k lumens projector 10' away should suffice, but i'd like to be sure. my real challenge is, i can't seem to find find a concise way to convert lumens to f-stop/footcandles. i know 1 footcandle = 1 lumen /sq foot, but what is the next step in converting the lumens rating of an LCD projector to footcandles, so as then to derive an f-stop? i'm obviously no math whiz, but a simple explanation may be all i need. thanks in advance... joe
  13. sorry! make that PLUSGREEN if you use flouros! not minusgreen...
  14. ari - those bulbs are green, though, no? jean paul - you can use eca's and ebw's... they don't quite get you full daylight, they're maybe 4000-4500ºK. this distributor claims 4800ºK, maybe right out of the box it is: http://www.filmtools.com/ebw500wattge.html you should consider gelling your windows... cto if you use the eca/ebw photofloods, minusgreen if you use compact flouros.
  15. do diopters behave the same way when used on anamorphic lenses as they do on spherical? what about doublers? thanks.
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