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Albert Smith

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Everything posted by Albert Smith

  1. what you were looking at is metal halide which is not warm like sodium vapor....its very blue/green. What i tested I believe was a 700W fixture and the output was comparable to a 1k mighty with a 1/2 O + Green combo
  2. That still looks nice.....I've done some test with a sodium and mercury vapor fixture. Looked similar to what your looking at. I mean its just a broad light so if your concerned about the quality of light.....its a point source with a reflector behind it and it works fine similar to a work light ...you wont have any control over spot flood or anything obviously..... It didnt work for me because I was shooting on RED (green channel problems) but If your not worried about locking in your super monochromatic look in camera I would say go for it why not.....what specifically are you worried about?
  3. This may be a bit of a dumb question, But I am interested in working with some of these formats for a project and was curious if there is anyway to somehow capture the footage at a higher resolution in order to see more detail in the image. I understand the recording resolution probably doesn't even resolve SD, but I want to see more of the flaws (scan lines etc) in higher def is this possible?
  4. one of the greats. http://www.youtube.com/watch?v=tDI-Ozd5JuE
  5. I agree, well said. Regardless of the film, which I know pretty little about....fantasy has never really been for me, I think the 48fps is very interesting and I think over time will be adopted....when people take large unexpected steps negative backlash is always apart of it and smooth moving images have always been associated with soap operas and video cameras so that association is going to take a good amount of time for people to get past I think.....If movies were always shot at 48fps I doubt too many people would be thinking to shoot 24fps other then for stylistic effect.....I think for now the frame rate maybe best suited for a less set driven film though....would have been very interested to see a film like melancholia shot at 48fps
  6. I emailed Mr. Duclos about it. he basically said wide angle super 16mm lenses in general will not cover the sensor, what a shame. "Jake, Unfortunately even Super 16mm is still too small to cover the sensor in the BlackMagic camera. Some lenses might work, particularly more telephoto lenses. But the wide angle lenses such as the 11-110mm would not cover at the wide end of the zoom. " - Matthew Duclos
  7. yep, I figured as much. Know anywhere to get that type of image circle information for vintage lenses? I'm going to start sending out some emails and see if I can dig up anything.
  8. I'm interested if anyone has any insight if super16mm lenses could possibly cover the black magic sensor (15.81mm x 8.88mm). I know regular 16mm lens's were often converted to cover super 16mm.... maybe it would be possible to stretch them even further? I also heard there maybe issue's with PL mount lenses on the black magic camera, would it be possible to convert a super16mm lens to a mount that would work? I'm specifically very curious about the possibility of the full range zooms for documentary work like the Zeiss 11-110 or the cannon 11.5-138mm.
  9. The raw is the reason honestly, that and the sensor aside from it being a real camera with audio in and resolve (which is free for up to 1080p exports anyways and im sure basically everyone will be transcoding this footage from the black magic camera to 1080). 13 stops of latitude and a raw workflow....in picture quality the camera is in red/alexa/slog f3 territory even with the smaller sensor...which honestly if super 16 glass can cover the sensor is great! (which I am curious about)... Its very interesting I have to say its exciting to see a camera released in this price point and I think is very forward thinking.
  10. 3 lights close together on independent flicker box's through diff + your gel combo. Considering menacing flames I would probably use bigger sources bounced or thru frames in the same way.
  11. You need to have knowledge of how many stops over and under you can expose and what it will look like to a certain extent going into a project if you are shooting on film. If you want hot bright windows and your shooting at 2.8 you'll want to know how many stops over will achieve the look you want. Generally the idea is always to to keep the entire picture within the latitude of your film, if the windows are reading f22 and your shooting at 2.8 they will have no detail in them, they will be completely white. Read up on the latitude of the film stock your using and keep your highs and lows in that range...for the most part, but dont be afraid to get gutsy. as far as incident vs reflected. Incident measures the amount of light hitting a given point you hold it at and will tell you how to achieve proper exposure of an object at 50IRE so if they are wearing bright white or a black suite your reading will be the same. Reflected is very handy when those above conditions do happen and you need to make sure something isn't too bright or dark.
  12. The red is really setup for a post workflow where you find your look in the grade, although film has a hefty latitude I think a lot of people are more accustom to try to get closer to the final image on set when they shoot on film. With the Red I generally try to keep a picture that retains a lot of information. I usually try to keep a "Marginal black" so there is always some detail in the shadow areas and then always make sure to keep highlights well under 100IRE whenever possible. Then in the grade if we want to ditch some of the info high or low the option is there. Two things I have found on the red: The low end gets noisy really fast, if you have information in the picture you want to see between 10-20/25 IRE or so your not going to be able to bring it up at all without it going to poop...I think this is kinda common place for any camera, but its especially bad on the RED, so if you want to save any of that info light it a little flatter and bring it down later...or just be gutsy and know your going to be pretty locked into what you got on set. And, Highlights clip terribly, the roll off is not smooth like film at all...I think some of the other cameras out there have improved on this like the Alexa, but with the red highlights clip harsh so watch out.
  13. I have a film we are coloring now shot on red in 4k widescreen with the weirdo aspect ratio 2.33:1, My question is what to output this for festival screening since most still do HDcam. We have a in house Davicini lite suite and since it can really only handle 1080 regardless of it only outputting 1080 anyways.... we need to decide if it's worth it to take it elsewhere and finish in 2k scope or something. Anyone have any experience with this? It seems it might not really be worth it and we should probably just finish it in 1080 and letterbox it, but it does hurt my heart a little to keep losing resolution. What about anamorphic projection....squishing the whole picture onto hdcam? thanks for any insight.
  14. I just ran into this. never used, but plan to test one soon. they compare the output to 1.2k hmi's but who knows. http://www.aadyntech.com/lights/eco-punch-5600/
  15. Yea....just thrown on some color, the cool whites do different things depending on your camera though so do tests..... I shot a bunch of test's for a film last year filling with green and blue testing a bunch of effects gels and stuff and we liked 1/4G 1/4B the best..at the end of the day the whole thing is just about color contrast orange/Cyan contrast is always nice looking and become very popular.....but regardless of your color palette choice, where it makes sense, adding some color contrast between your key and fill will always make for a good look. surprisingly good article from hurlbut on lighting a scene, he speaks about color contrast in his fill, although fairly subtle in this scene. http://www.hurlbutvisuals.com/blog/2011/07/08/lighting-basics-series-i-where-to-place-your-key-light/ not to deter you. http://theabyssgazes.blogspot.com/2010/03/teal-and-orange-hollywood-please-stop.html
  16. I believe you'll be safe with 5K. lots of other posts on this though look around the info is on here.
  17. 30k cine zoom designed for use with dslr's....who what'da thought that wouldn't work?
  18. There is a good amount on this across the internets. Cp.2 are pretty much the SLR still lenses rehoused for cinematography...not to say that is a terrible thing though they are pretty good lenses still... there is minor breathing, they are slower and have a less consistent t stop through the range, and I'm not sure about how good the coverage is for 4.5k ws if that is something you are doing. If money is a consideration I would also think about standard speeds as an option.
  19. Keep in mind every director/cinematographer relationship is different. The shot list can be a collaboration or not. That aside your question basically seems to be "how do you tell a story by where you place the camera" and that is a big question. There is an endless amount of things to take into consideration and there really is no right or wrong here....I mean its art you know....film. I think as a starting point its about learning what a camera placement will do to a scene and learning how to visualize that....when I'm collaborating on a project and talking about shots if neither the director or myself can picture a frame and what it will do we will usually plan to shoot tests or look for references and that helps a good deal. Think about the scene's as whole and how they will be covered...many may disagree but to get away from the technical you might want to throw out some of the traditions like the classic 2 over the shoulders and a 2 shot for a dialog scene open it up. For example on a recent project we covered some scenes in one wide static frame, the reason for this being we wanted the audience to feel like they were looking in on the action of our characters without being with them.....as if they were watching them objectively from across the street, but at the same time the film is very much about the location the film takes place in and we wanted to make sure to show our characters as small in the context of this place so these wide static frames also served to do that as well...On the opposite side of things we had scenes where we wanted to bring our audience along with them, as if they were a third person along for the ride so we opened the camera way up handheld, wider lenses. Of course this is somewhat of an over simplification like previously stated there are millions of variables at play to help you choose your shots....the goal for us has always been find whats most important to the scene and try to bring that out with the camera.
  20. Email your resume if you get a chance. what rental house did you work at? Jake@rubbishisgold.com
  21. Shooting a small job 1hr north of nashville in kentucky. Would like to rent a small package (1ton van-ish), anyone have any good suggestions? thanks!
  22. The benfits: -Having lots of options (1/4,1/2,full + opal and a slew of other materials) ...things like tough spun or opal will retain a beam shape so the light stays hot in the middle while stronger stuff will spread light more evenly. - It wont catch on fire...just melt....I wouldn't put a piece of flammable fabric on barn doors or that close to the source ...I have in a pinch put light through stuff like bedsheets or actual curtains on windows and it can work out great, you just need to be careful and hope it gives you the right level of diffusion. Gel+Diff is really expensive like many things for filmaking do to the small market and the fact most of the money is coming from higher end jobs shooting bigger shows. Most of the stuff I have gotten came from snatching spare sheets from gigs or scraps from rental houses....it can be tough if you are doing small budget stuff the hundred bucks or w/e for a full roll of diff can be a big hassle. if you are renting from a small rental house or when you are able to establish a relationship with one ask for scraps a lot of the time they will help you out especially if you are a student
  23. I'm shooting a project at night on a MX, In the past I have gotten away with the Red displays, and well they definitely aren't great. What do people like, I am on a budget I can't really spend more then 150-200/day so I'm still looking for something small probably....what good? Anyone use the Panasonic BT-LH900P?
  24. Getting back to the original topic, just something to consider....this seems obvious I suppose but hasn't been said.... films that are heavily color corrected and films that are color corrected well are very different things. A lot of work has benefited hugely from the collaboration between the DP and Colorist and most of the color grading goes completely un-noticed which is usually what makes it great. I don't want to see or know the colorist put a power window over this or that to pull my attention there or fix this or that...... I don't know too much about the process used for the Tree of Life other then it did have a DI and that the DP used very limited movie lighting. After seeing it on a big screen it seemed to me they did a great job in that DI process finding the look for the film.....really remarkable looking film and I'm sure they were pulling alot of info out of the film since minimal lighting was used.
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