Jump to content

Gunnar Kaergaard

Basic Member
  • Posts

    6
  • Joined

  • Last visited

Profile Information

  • Occupation
    Student
  1. hello, i was wondering if it is possible to use my leica M lenses on either the sony EX3 or pdw700. is there an adapter somewhere that'll connect these things? regardless of whatever distortions or visual problems might occur.. thanks a lot. tom
  2. i meant of course the "12 Megapixel Mysterium Sensor", thought people here would get that. nevermind. i did get offended, though.
  3. ok, thank you very much. i'll try to squeeze in a test.. t
  4. and where do I find a manual for the RED to download? i couldn't find it at reduser.net, nor at red.com.. t
  5. i read somewhere that the "mystery"-sensor has an ASA-sensibility equivalent to something like 320 ASA. So I plan to adjust my light meter to 320, for next week's shot with a RED camera. The possibilities of shifting the ASA-values to 500, 1000, 4000 or even 8000 ASA is confusing to me. it is kind of tempting to set the camera to 8000 ASA and shoot my night scenes with no lamps, but it also seems fishy.. anybody has experience with outdoor night scenes with RED, and light and postpro? I mean, if I put the camera to 500 or 1000 ASA, am I really shooting 500 or 1000 ASA, or is it only pretending to be 500-1000, but in fact remains 320 heavily underexposed? thank you! tom
  6. hi! i'm a student. fortunate enough to expose 8 rolls of kodak vision 320T. the story goes like this: i wanted grain in my picture, i wanted a beautiful grain, a brilliant one, not just noise and blur, no, a "photographic" grain. so i made some tests, i pushed the kodak exr 50D by 3 stops. there was some nice grain there, but it wasn't really worth it. pushing by 3 stops is very expensive in berlin, and it didn't look cool enough for me to make the decision to shoot the film like this. also because the telecine couldn't keep up with the contrasts in the material. i also pushed fuji eterna 250D by 2 stops. there might have been a grain there, but it wasn't particularly obvious on the telecine-monitor. and the contrast seemed a bit out of control as well. so i was stressed: i want a cool grain, but i can't force the material because it'll be too contrasty for the digital postproduction, it'll look like video. so i kind of decided not to push the material, to do my lighting (the parts i can control, anyway) fairly "mild", not too hard, so that the telecine won't turn the material into video immediately. i asked my teacher which material is the grainiest, he said: fuji f400 and the old kodak320T. so now i have a grainy material with low-contrast, so that i can crank it up a bit in the post, hopefully without turning into video immediatly. now, my worries grow as the shooting comes closer. there's no more time nor money for tests. what kind of grain does this material have? is it a "sharp"/crusty grain or a bad blurry one? and what happens if i push it, just one tiny small stop, will the grain run amok, or become excactly what i want? and what happens to the contrast in this low-contrast material, will it still be telecine-compitable?? will i ruin the entire film, just because i want to push and play?
×
×
  • Create New...