Jump to content

isaac_klotz

Basic Member
  • Posts

    21
  • Joined

  • Last visited

Profile Information

  • Occupation
    Cinematographer
  1. i've found most commercial clients want to see spots you've already shot, in their entirety. even if its only a few really good looking spots, i'd show those and take it from there. for features, a montage over music is common, though your practice of making custom trailers sounds more interesting to me.
  2. nicely done. can you come help me organize my record collection? = ) -isaac
  3. my friend is 28 and has been living in LA for 6 years since getting out of college. my friend makes between 25,000 and 35,000 per year as a cinematographer. 10 years from now, who knows what he'll be a part of. but i wish him luck.
  4. okay, i've found that creating a 23.98 ntsc timeline will actually perform a live pulldown while i'm exporting to my camera via firewire. i would rather find a way to do this conversion in the computer without having to dub a minidv tape and then capture it again. but at least this does work.
  5. first off, this site has been very helpful, thanks! any help on this much appreciated. my problem: i have a project which is in 720p24, and i am having trouble downconverting to dv ntsc. i've tried converting in fcp and compressor, and my ntsc file usually comes out 29.97 but has not applied a proper pull-down (2:3:2:3 in this case). Usually I get 4 independent frames and then a duplicated 4th frame as my 5th. i've tried going from 720p24 to 720p30 to dv and i get the same problem. when i convert in compressor, the settings read 29.97 for my output, but the file it spits out is actualy 23.94. in the fcp manual, they mention pulldown insertion abilities. i found a site which says you can choose one of three pull-down insertion patterns from the RT pop-up menu in the Timeline, but i don't see this feature when i click on the RT button. anyone have any ideas on this? i'm using fcp 5.1.4 and compressor 2.0 thanks, isaac
  6. shooting day for night would be difficult if you want light radiating from inside each house. you would essentially need a huge lamp on each window that you want to glow. and its hard to outshine that large lamp in the sky. = ) dusk for night would be easier, but it will be tricky timing so that your ratios work, ambient outdoor vs. practical house interior levels at each window, porch lights, etc.. sounds fun though! i'd be curious to see what you come up with.
  7. i just shot a spot with the sdx-900, pro35 and cooke s4's and was pleased with the results. especially the well lit exteriors, the shots with contrast in lighting. some of the second day was overcast, and the images from those few hours were a bit flat, but over all, very pleased with the setup. we were shooting mostly 75mm and 100mm. the camera was huge with everything built, but didnt slow me down much. (i tried some handheld and would not recommend... hah!) if youre after 35mm dof, i do not think HD zooms will compare favorably. If you want crystal sharp images, its a different story. it just depends on the story you are trying to tell for your production. for camera setup, i had to set the white shading to offset a color shift which was present with the adaptor. without making this adjustment, i saw a slight shift in color from top to bottom of the image, with the top being a bit more magenta, bottom being a bit more green. a few tweaks in the white shading menu fixed this. check into this if you will be shooting with this setup! = ) -isaac
  8. heavily backlit images are more contrasty and less saturated. your subject has very little frontal light (key and fill) which is the type of light which would give you vibrant colors. the white wall is white and the black railings are black, so the image has the appearance of being properly exposed. however, your subject is underexposed by a couple of stops, causing this look (which you describe as a grey look). how do you like it? i think it can be beautiful in certain situations. sometimes an eye light will help.
  9. at full zoom, its possible you would lose up to 2 stops or more. in fact, most zooms i have used lose about one-two stops at full zoom. i've seen this on film cameras and even on hd cameras like the f-900 with a fujinon hd zoom lens. -isaac
  10. other lights such as security lights for the house or landscape lighting for the yard may help you light your background so that you can keep the girl underlit as she approaches, but you can still see her against her background. -isaac klotz
  11. i just saw this film last night. the story was a nice break from the hollywood norm, but i wouldnt list it as one of my favorites. the acting did impress me, and it had some great comedy at a few key moments, but the overall arc of the story was a bit tired and predictable. the shooting style seemed to work for the film, as they were able to get excellent performances out of everyone in the film. but it seemed like they shot 95% of the film handheld on a 105mm lens... perhaps there were just too many close ups?
  12. well, the entire image is 'streaking' but it is the highlights which are actually noticeable. the midtones and shadows don't put out enough to make an impactful exposure on the moving negative. -isaac klotz
  13. i just shot a short film using the fs-100 which worked out well. it holds about 100 minutes of DVCPRO HD footage (i was also shooting 720p24). this is enough storage to shoot for an entire day and offload at night (or during lunch if you are shooting a ton). it records p2 files to the fs-100 and i had trouble importing the p2 files into fcp 5.0 and had to upgrade to 5.1, which means I needed OSX 10.4 on my mac. if you only have fcp4.5 or 5.0, you could run a firewire cable directly from hvx to your computer and capture with capture now. but this method is obviously pretty limiting for camera movement and shooting setups. looking back at the footage, everything looks great and the fs-100 saved valuable time on set. however, maybe 1 out of every 15 or 20 clips will have a dropout glitch which lasts 1 frame. they show up in random places, not just at the beginning or end of a clip. i do know how to fix this in post (if one of these frames even ends up in the final cut), but its still kind of annoying.. anyone else experience this? -isaac
  14. besides 12ks or 18ks, you can also try using nets behind your talent. i've got that setup working from time to time on a 12x or something large. for a tight enough mcu on long lens, you could put a 4x4 of ND behind the subject. but these are very locked off solutions, not a lot of room for blocking the talent or camera movement.
  15. i saw a 15million candle power at costco, easily the biggest flashlight ive seen. it looked more like a satallite dish.. = )
×
×
  • Create New...