Jan Kielland

This is my showreel, It's a bit long.

Please comment

I'm currently animating masks in after effects. I'm not usually going frame by frame but you can if you want to.

Silhouette FX have a plug in that called Silhouette Roto that might make it easier. I never tried it.

Jan Kielland

Hi Mark

I thought you gave up on the whole 35mm DOF after you shoot in september.

I'm doing a short myself and I'm thinking of using the XL2 with PS and Zeiss lenses, or the HVX and order an M2 adapter to use with a friends nikon lenses.

Jan

What i make out of reading this article is that M2 is much better when it comes to quality and price. Does any one agree to it. I was considering buy M2 adapter and I think I inclining towards it more but need to see what you guys think.

That was a very interesting link. I was thinking of buying a M2 adapter, but I was wondering if it was just crap.

I've seen the P+S adapter in action and was amazed by the results.

Does anyone know if the redrock adapter works just as good as the p+s 35mm adapters?

http://www.redrockmicro.com/micro35.html

I'm going to telecine on friday with 12x400feet rolls. We only have 4 hours at the telecine and there is no way we can afford more time there.

Any suggestions to speed up the process as much as possible without compromising the look of our film too much?

Jan Kielland

Thank you very much David.

I've been trying to upload a picture of the space, but I can't seem to upload more than a 5.7kb picture for some reason.

What should I do with the daylight in order to control it? Any suggestions? There is not going to be time to build a tent

Jan

I can't shoot with the 85 filter because I got this big machine with 300 praclights in the same room as well. So I think I need the CTO on the windows. Might just go with 3200K

Were shooting inside with daylight coming in trough the windows. I'm planing on covering the windows with tracingpaper from a artstore, and a full CTO then shining the 2,4 at the windows. The only thing I can't seem to work out is whether to use a quarter CTO on the HMI or not. Alot of the action will happen just infront of those windows, and I want my actors to look as pretty as possible.

Sorry I'm so bad at specifying my questions

Thanks David

Hi

Will the quality of the picture look better if it's shot HDV then exportet from the camera as DV, or will the result be the same as if it was shot DV?

Jan Kielland

You have to give us more information, like if you are working with daylight or tungsten-balanced film stock. 1 + 1/4 CTO on an HMI on tungsten film would look the same as a tungsten lamp with 1/4 CTO.

Sorry, David.

Your reply is much appreciated. I'm shooting on 200T and I was basically wondering how to get a scene to look like dusk, without it looking ugly on my actors.. I basically only have the colour correcting gels to work with. The rest of the scene will have 1/4 CTO here and there in the background to make it look a bit dirty and old, but I'm unsure about the HMI because it will shine on my actors as well and I'd prefer to keep them a bit whiter than the background.

I know its all up to me but it is still really helpful to hear what you and the other professionals here got to say.

I am really impressed by your work and it is just wonderful that you take time to answer my questions.

Your help on the moonlight was great.

By the way, those screenshots from "Northfork" in the lighting setup post of yours is really amazing. In my film there is a guy with very very similar glasses :) If I can make some of my film look anything like that I will be thrilled.

Jan Kielland

This is what I want.

http://www.cinematography.com/forum2004/in...ost&id=1451

Hi

Would a 1 1/4 CTO on a HMI give me a dusk look shining trough a window?

Hi

How do I make sure my generator is running at the right frequency? 50Htz. Can I test this on video? or is there any other way of checking without a meter?

I got 2 5.5 generator and a 2.4 HMI

cheers

Jan Kielland

one other thing

could I use a full pluss green instead of a pale green? or some other green gel?

Thanks for your help David!

For lighting the talent I've gathered that tungsten with 1/2 blue and a pale green would look nice, is that right?

Do you have any coments on the Harry Potter daytime screen shot?

Would a quarter CTO look nice at all?

If I had the money I would have gotten some more gels, unfortunatly gels are not the top priority of our budget...

Some of the other students on my course used the HMI for moonlight and I actually found it a bit to pale blue looking on its own. I want a darker blue.

What do you mean by shooting gray scale tungsten first?

Hi

I'm shooting a short on super 16 200T and I want the nightime scenes to have this really dark blue filling up the space.

What I would like is the blue they got for many of the nightime scenes in Edward scissorhands or some of the nightime scenes in Harry potter

I have a 2.4 HMI and CTB gel

can I create this ambient blue I want with these gels? How much do I put on?

Also

what kind of gel did they use for the background of this daytime Harry Potter shot?

All replys are much appreciated

Hi

I just saw "Planet Earth" yesterday and was wondering about the slow motion effect they use in the series. David Attenborough says in his voiceover that they slowed the fotage of the shark (episode 1) down 40 times. How did they do that with HD?

does anyone know?

Jan Kielland

How about the HVR-Z1

Thanks for the replys

I was planing on alot of backlight, is that a good idea?

The space is supposed to be a post apocalyptic sci fi sports arena.

Thanks for the replys

Jan

I was planing on alot of backlight, is that a good idea?

The space is supposed to be a post apocalyptic sci fi sports arena.

Thanks for the replys

Jan

Hi

I'm a unexperienced DP that is doing a short film. Half the film is going to be shot infront of green screen and I was hoping someone here could help me with the lighting. If I could light my actors similar to the way they did in Sin City that would be fantastic (allthough I know that might be hard).

How much light should I have on the green screen compared to on the actors?

Does anyone have any examples of their own set ups that they could show me?

The short will be shot on interlaced HD then de-interlaced for the green screen.

thanks

Hi

I'm doing a green screen heavy short on a Sony FX1. I've gathered that progressive is better for green screen than interlaced. The FX1 can't shoot progressive, but I've read that you can deinterlace before keying and get a better result.

Does anyone have any experience doing this?