Jump to content

Alberto Díaz

Basic Member
  • Posts

    37
  • Joined

  • Last visited

Everything posted by Alberto Díaz

  1. Great !!! Thank you Jason, I must suppose that this option already exists.
  2. Hi, I have seen a few post without reply, and I think it would be a good idea to create a new forum where you can move the post without response and it would be easier that those post have a reply. I hope you understand my bad english.
  3. Hi Ratheesh, It's very interesting that you say about black levels. Is it possible to adjust black level in all digital cameras' or only in profesional cameras: Sony HD900,Varicam.... How does it work? Thanks a lot!
  4. " Pompeya " a film by Roman Polanski is gointg to be shooted in Alicante ( Spain), the place where I am. I'd like to know who is going to be director of photography in this film. Will be Pawel Edelman? Does anybody know?
  5. Hi, I´ve been searching information about Black and white promist and I'm not sure about the difference. In wich situations will be better use Black instead White promist? Could you help me? Thanks.
  6. Absolutely Robert, I'm agree with you in this : " a photographer should be bale to creat his own look as much as he can without going into grading". Sure, but I think you can do things during the shooting thinking in what are you going to do in post-production. You do the magic during the shooting, but you can't discard the post-roduction. Do you know any other color grading programs? Thanks man!!!
  7. Hi, I´m not sure if this is the right section to write this. If it isn´'t, please move it!!! I´m a student from Madrid and I have come to the conclusion that colour grad?? , I mean the "colour correction" after shooting with the computer, is the second tool of a DP, it´s essential The first tool is during the shooting: camera and lighting works. What do you think? So I would like that somenone says me wich computer programs are better for color grading? Does anybody knows the program called " color" from the new Final Cut Studio 2? Is it works good? Thank you people. Alberto .
  8. Thanks a lot to everybody. It´s a pity my bad english because I can´t express my self. As I said It´s a very-low budget short, so I think I can only get panel reflection panel ( but I will talk with the "producer" ). My idea is to shoot in a sunny day, but shoot first the "cloudy shots " earlymorning ,before the sun enter in the park, after that the effect shot and the all sunny shots( the most of the short). DAVID you says: "It may be easier to first show the actor in overcast light, cut-away to a shot of the sun coming out of the clouds, and then cut back to the actor in the real sun." It`s a good idea, but the director wants the effect in the same shot, I mean first It´s cloudy and the sun appears in the same shot. And for the backgrounds I will use black courtains and out of focus maximum as possible. And "Panning the reflector until the sun hits the actor may be good enough to create the fade-up effect. Yeah I thought that, but I was afraid that It will be too evident. But if you say it, I´m absolutely sure that It works. Thanks . Ryan, sorry about 85, I becamed crazy!! And I will underexpose a little ( may be more in post) in cloudy shots and overxpose( just a little ) in sunny shots.
  9. Sorry Michael, you´re right. NICK MULDER, you said : "Is it out of the question that you and the cast/crew simply wait on a cloudy day for the sun to do what you want " No!! My idea is shoot the "cloudy shots " before the sun enter in the park ( only 2 -3 shots), after that shoot the "sunny shots" with the sun backlighting ( most of the short) and then shoot the shot where the sun appears. Do you understand me ' (sorry about my english) But I can´t understand what do you say with this : "Then you wont have to fart around with trying to trick everything 2 and this : " is there any thing to stop you from heading outside right now and trying out what you are suggesting with a stand-in or two ? The gear is borrowed perhaps? " Please, expalin me this with a basic english ,I´m spanish and I can´t understand this!!
  10. I have writted this post at two forums: First Time Film Makers, and Lighting. And Nobody answered me. Please, Could you help me with this? : "...Hi everybody, I´m from Spain, so I`ll try to explain my doubt in my bad english. I have a short as a DP in a park with Sony HD Z1, and It´s a very low-budget short, so I can't use lights. The problem is that I have to do an effect: the day is cloudy and suddenly the sun appears behind a cloud. Most of the short is with the sun shinning, and only a few shots in a cloudy day. So I think that we will shoot the cloudy shots begining the day, before the sun enter in the park( there are a lot of big buildings around). Wich filter I need to correct the light?, because 85 is too much. Or It´s better to do it in post-production because there isn't much diference? The sun appears in a short shot (close-up?) I´ve been thinking( just a little) in the way to do this without lights, in a sunny day and with the sun backlighting : - Using light reflectant panels, 3 options: A- Put it far and bring it near the scene slowly ( may be is too difficult hold the reflection over the actor), and cut the sun light in the background with black cloths. B- Putting ND6 and ND3 gels over the light reflectant panel and remove it slowly: first Nd 6, then Nd 3 sounds crazy? C) Cut the light reflectant panel with black cloths, and remove it slowly. Too evident? What do you think? Thank you Kru. Alberto Díaz Student from Madrid.
  11. Hi everybody, I´m from Spain, so I`ll try to explain my doubt in my bad english. I have a short as a DP in a park with Sony HD Z1, and It´s a very low-budget short, so I can't use lights. The problem is that I have to do an effect: the day is cloudy and suddenly the sun appears behind a cloud. Most of the short is with the sun shinning, and only a few shots in a cloudy day. So I think that we will shoot the cloudy shots begining the day, before the sun enter in the park( there are a lot of big buildings around). Wich filter I need to correct the light?, because 85 is too much. Or It´s better to do it in post-production because there isn't much diference? The sun appears in a short shot (close-up?) I´ve been thinking( just a little) in the way to do this without lights, in a sunny day and with the sun backlighting : - Using light reflectant panels, 3 options: A- Put it far and bring it near the scene slowly ( may be is too difficult hold the reflection over the actor), and cut the sun light in the background with black cloths. B- Putting ND6 and ND3 gels over the light reflectant panel and remove it slowly: first Nd 6, then Nd 3 sounds crazy? C) Cut the light reflectant panel with black cloths, and remove it slowly. Too evident? What do you think? Thank you Kru. Alberto Díaz Student from Madrid.
  12. Hi everybody, I´m from Spain, so I`ll try to explain my doubt in my bad english. I have a short as a DP in a park with Sony HD Z1, and It´s a very low-budget short, so I can't use lights. The problem is that I have to do an effect: the day is cloudy and suddenly the sun appears behind a cloud. Most of the short is with the sun shinning, and only a few shots in a cloudy day. So I think that we will shoot the cloudy shots begining the day, before the sun enter in the park( there are a lot of big buildings around). Wich filter I need to correct the light?, because 85 is too much. Or It´s better to do it in post-production because there isn't much diference? The sun appears in a short shot (close-up?) I´ve been thinking( just a little) in the way to do this without lights, in a sunny day with the sun backlighting and white cards and light reflectant panels in front: - Using light reflectant panels to create the effect, 3 options: A- Put it far and bring it near the scene slowly ( may be is too difficult hold the reflection over the actor), and cut the sun light in the background with black cloths. B- Putting ND6 and ND3 gels over the light reflectant panel and remove it slowly: first Nd 6, then Nd 3 sounds crazy? C) Cut the light reflectant panel with black cloths, and remove it slowly. Too evident? What do you think? Thank you Kru. Alberto Díaz Student from Madrid.
  13. What a pity Johnatan !! Internet didn´t works since 13 december ( the day before the shooting ) . So I have read your message right now. But lots of thanks man !!! You get worried about my short, you have searched the "House " episode... cool man!!! And I'm happy because the short has been a success, and I'm happy too because I was the camera and electrician crew, I did all alone ( altough one friend lend me a hand some ahours). And It was my first time on video. Thanks !!!!!!!!
  14. Thank you Michael. I think the fact is that I'm an student , so I'm paying attention to the lights when I watch a film and I always lose the argument of the film. I think a " normal " member of the audience doesn´t realize of changes like the little backlight. Now, I think I'm ready to create my light style, I mean , nothing new but ready for definy what kind of thing s I like to do with the light. Salud !!!
  15. Hi people I've been watching films and paying attention to the light continuity . And I have seen a lot of things that I hadn´t seen when I watch that film last time. And I have seen somethings that I thought that were wrong , but now I saw it at films from good DOP. So I 'm confused. For example : A/ One man sitting in a room with windows at night. In wide shots he hasn´t got a backlight that fills his face with a line, but he has got in close -ups. So Is this right? B/ Two men, one in front of the other : The direction of the light changes !! I mean : Man "A" shot : the back of the man "B" is lighted . Man "B" shot : now back's man "B" is dark. Is it right ? I saw this at "LOST" tv . So, where is the limit of the light continuity? Thank you about your patience
  16. Thank you Johnatan !! Unfortunately camera is only available the shooting day. About gels , I have enough plus green gels, because I picked them from the rubbish when the film finished. And fortunately I have 216 diffusion too ( from the rubbish too, jeje ), so It's better to use 216 than bounce the light over a white cork. OK!! Do you think that lighting the actress with white light and the backgrounds with a plus green gel , is a good idea? About how many plus green, I have a lot of doubts : 1/ Add (only over backgrounds ) a 1/8 or 1/4 plus green to add some more with the computer after shooting, 2/Add 1/2 plus green over backgrounds and only 1/8 plus green over the actress to try that there isn´t too much difference between the actress and the backgrounds. 3/ In both cases I'd like to expose the actress one stop more than the backgrounds because if I correct colour after shooting, you will see more green the dark zones than the overexposed zones, ¿ isn´t it ? Thank you again !!! Thank you too Jim!!!
  17. Hi to everybody again. I've just finished my first film as a second assistant camera in the film " Asterix at the olympic games" with Thierry Arbogast D.O.P. And now I'm really sure that this is my job : cinema I'm going to be DOP in a video short (Panasonic AGDVX100) next thursday and I'm full of stupids doubts !! I'll try to explain you with my bad English : 1/ Gels or colorcorrection? The director wants a soft green color for the short, that is in a public toilet. Is it better to add gels or done it after shooting with the computer ? In case of gels, Can I use plus green in a white light and camera on 3200 ? Or it`s no good that green ? Is it better to use coulour gels? please say me wich kind of green gels looks good for white skin colour. ( actress) One idea I have is to light the bathroom in one way ( with green) and then ,light the actress a little bit more with white light, specially the close-ups. What dou you think? is it too unreal,? All kind of suggestions are welcome. 2/ Other way, I'd like to imitate the fuorescent light but I only have one kino-flo (4 tubes). So Is it the same light if you bounce the light over a white card or if you add a diffusion gel on the lights ( tungsten fresnel)? Or is different? Is it easy to imitate the fluorescent light with tugnsten light ? I hope you understand my poor english. Thank you crew !!!! Alberto, Student
  18. Thank you 1000 times Unfortunately I haven't got the lighmeter, it's at school and they don't let me to take it out of school Finally I have decided to use Mist Blue gel and Half CTStraw. Much appreciated, Alberto
  19. Thank youy for your help Michael, If you come to Madrid or Alicante, contact me and I will help you if you needed. I have done proofs you say, and I have a lee filters book with filters samples. But It's really difficult to determinate wich is the most suitable( suitablest?). And I have done proofs with my digital camera. It's true that you can't tell me waht would look better, It's matter of personal taste. I have a Sekonic, but I think If I use spotmeter ,flames always says more than 4 points overexposed?. My principal fear is that movie lights looks different from the candle and most important : How many stops could I underexpose flames with regard to the faces (spotmeter) to looks real? Regarding to blue gels, I have from 300W to 1000W fresnel tungsten and it has to be on the ceiling . And blue gels eat a lot of light, so Do you know how many transmision have full CTB.? Do you think I will have problems with light intensity if I use fullCTB or an strong blue gel? There are travellings and I don't want to difficult too much the work's assistant camera Much appreciated Alberto
  20. Hi and sorry about bombing the forum with my questions. Anybody knows what gels use Slavomir Idziak at " Three colours : Blue (Krzysztof Kieslowski) ? Did he use CTB or a colur effect gel? In case of use a CTB(on tungsten), how many: 100 CTB, more? less? Or maybe the colour was done only in postproduction? I would be very grateful if somebody know this. Best, Alberto
  21. Last questions I promise. I 'm going to work with kodak Vision2 500T 7218. wich exposition will be better to flames look good and to seems that light in the character comes from the candles? Do you think 2.8 -2.8 2/3 works well? Regarding to gels, there are 3 types of straw: CTStraw, Straw and Straw tint . Wich is the most appropiate for the candles? Regarding to blue gels. I have choose two : Mist blue and Pale blue. Wich do you think is better and colder? Than you, Thank you thank you Alberto
  22. I'm sorry about my english , I thought that it was an expression. Yeah, Blue is an amazing film. Try to see it and tell me abou colours. However I have read some bad critics about the cinematography of this film . Well I don't know enough to say if this is good or bad cinematography, but i would say that is great. Ciao. Alberto
  23. I forgot to answer something, Do you think it would be better to use a dimmer to simulate the oscilations of the candles? Or do you think it's too much difficult to simulate this effect and it will seems that light doesn't come from the candles? Wich is the best way to simulate the oscilations from the candles? I'm very grateful for your help, Alberto Thank you very much,people and specially to Michael. I'm with you brother, I'm a student and I have to try for my self. Best
  24. Thank you ,man!! I understan well this : " Blue is the one disc in the box set that wouldn't play in my machine for some reason, so I still haven't seen it! And everyone says it's the best one..."You mean that you never use blue because you don't like it? Maybe you are right.Please clarify this since my english isn't good So what colour do you suggest to a sequence where a couple break up and, and they are naked in the bed, and the girl says to him that continues fu**ing in spite of he has said her that he don't want to continue their relationship. I hope you understand me. Do you think a magenta gel (minus green) works well? What colour dou you think? All the best Alberto
  25. Thank you a lot Miachael. The gel I was trying to say is a neon pink, fluorescent but finally we aren't going to use it. I have read Rosco guide filters before to post this , but I'm a student and I haven't got much possibilities to shoot on 16 mm. This is going to be my second shoot on 16mm and my second time as a DP in my life. So I don't know what effect causes the gels. I beg you to suggest me two or three cold blue gels to choose one. To make you an idea I want a very cold blue but not much dark, I would like a colour like in the film of Krzyzstof Kieslowski " Three colours : BLUE". and Slawomir Idziak directing photography I have seen a rosco gel called " Mist Blue" , do you kow this gel? cheers from over the ocean, Alberto
×
×
  • Create New...