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Safia M. Dirie

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  1. I am running 7212 (Kodak 100T) for a few scenes that will force me to use daylight sources (due to budget). If I were to use an 85 filter this would bring my speed to 64. To avoid this loss in speed, I was thinking of just timing out blue during the charts process, however, I am concerned about the effect this will have on integrity of my image. Will simply removing blue in the timing process cause an error in skin tones? Will it effect the sharpness and/or clarity of the image? Will it cause the grain to become noisier? Will there be an inflexibility of the film's color rendering when I go through the DI process? I should have tested this during my camera tests...it just didn't cross my mind to test it. Thanks for viewing my questions!
  2. When choosing film stocks for a shoot I'm DPing I wanted a slow speed that is optimal for VFX work. In the end I decided to use Kodak 7212. I have suddenly realized that the three scenes that require VFX shots (i.e., plates on location therefore the subject on a stage) will require daylight because of the locations being out of doors or having many windows. I tested a variety of films, but it never dawned on me to try a daylight stock. I assumed that 7205 would have too much grain when in reality the 7217 has a weaker grain structure--and I tested that stock! I have a variety of options to warm up the daylight (e.g. 85, gels, timing out blue), but I am worried about the effect this will have with the blue screen. The questions: 1. Which method of removing blue light on location would be best to replicate when on the stage shooting blue screen? 2. What exactly happens to the integrity of the color on the negative if I were to time out blue light on tungsten film (this would be optimal to give me as much speed as possible)? Is there a loss in sharpness or clarity? How will this affect my DI session? My cinematography teacher has us light the blue (or green) screen with blue lights to make the color more pure. I am afraid that by removing blue that I will affect the rendering of screen color too much making the keying out procedure too arduous. My teacher suggests that we follow manufacturer suggestions on the film when shooting blue screen, and to shoot everything has clean as possible for greatest match when compositing and for the blue screen. Thanks for reading, and I'm looking forward to ANY and ALL suggestions! --Safia
  3. Thank you! This is great start for my tests. I'll report back on this string with my results!
  4. Does anyone have general information on which stocks from either Kodak or Fuji do well with blue screen work? I will be shooting a short film whose majority will be in front of blue screen. I will shoot the plates that will replace the blue screen. Any suggestions on a brand or speed? Thanks!
  5. Does anyone know what types of lenses were used for the opening sequence in the Showtime show 'Dexter'? I would like to capture this effect for a short sequence i'm shooting. I am guessing that a macro lense was used to get the fine detail. I could very well be wrong. Any information (lense, stock, timing) on this sequence would be great! thank you!
  6. Thanks David for answering! To answer your question, I would like the projection to look like rear projection. I do not know if I could get the plates to be HD and get a projector like that. I would probably borrow some footage from Warner Brothers--they have lent us stock footage before. I could even ask cineworks (the lab we work with in miami) about projection. Off topic: thank you for responding! i'm so excited! i really appreciate all of the time you spend making the world better cinematographers! Hey Scott, thank for taking the time to reply to my post. i never even thought about having having the footage treated to look like rear projection! that's a grreeatt! idea. i think i can come up with something great with this!
  7. I am shooting my final guaranteed film here at FSU in a couple of months, and I am trying to make a decision about the style of my film. The film consists of two characters in a car driving around the south. I am interested in rear projection which I understand is totally out of date and only resurrected on special occassions, but I love that look. One caveat: I don't know if I could afford stock footage on film. What about digital projection? Too grainy? crappy? I could possibly achieve that look with green screen, but I would like to avoid the 'Spanglish' green-screen-driving look (the rest of the film looks great). I do not know if the scenes in that film were shot like that on purpose, but it is a 'look' I'd like to avoid--the look being 'hey, we shot this on a soundstage with a fan and a green screen, but it's supposed to look real!' I mean no offense, but these scenes have always taken me out of the movie--a movie i love! The first question you may have is this: why not shoot outside? I will definitely like to tow the car and shoot, but I will be shooting during hurricane season here in Florida, and I want to have all my bases covered--just in case. So, is it possible to do rear projection with a digital projector if I were not able to get a hold of a projector with film? How do I avoid the "Spanglish" look of the car scenes when, and if, we shoot in our sound stages in front of our green screen? (by the way, our VFX dept. at FSU is great-it's headed by Stuart Robertson and the stuff they've put out, even on short notice, is fantastic) Please excuse my complete ignorance of this subject. Thanks!
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