crille haag

I´m really sorry for that. It was actually a mistake... I haven´t posted that many things and something got wrong.

Hello everyone. I have two different setups I wanted to discuss. The first one is under water. With people "floating" in the air. The background has to be completely black. We will shoot one person at a time. The lighting will be sidelights so the left side of the face also becoms completely black. It will look a little bit like the old portishead video that chris cunnigham did a couple of years ago. My thoughts about this one one is to try and do it in a built glass tank. So I can light and do the camerawork outside on "dry" land. And do it in a studio where I can use lots of black cloth to minimize reflections. If I do it in a pool with underwatercameras Im concerned about the electrics and the control of both lights and cameras. The other one is a scene were a car is submerged into water and you see a family inside who struggles to get out. It´gonna look like the car got out of control and smashed into a lake. The background can of course be black. Its one take and the camera is shooting trough the front windshield. It will be about 30 seconds long. Depending on how long the car takes to be filled completely. This one is tricky. I can´t build a glass tank thats big enough to hold a car. And how do I submerge it? Can you do it in a pool that you fill with water very quickly and shoot with underwatercameras. But how do you light inside the car. If anyone has any ideas or experiences about this I would love to hear it. And don´t worry about the safety issues. If it is someone who values "safety first" It´s me. I will see to it that the right people are there to back us up.

Thanks for the input everyone. I talked with a technician at fuji and he told me that I should stick with the 250D the whole way through. Like you said, if you do a good telecine and good keying it shouldn´t be any problems. I´m shooting both exterior and in a big warehouse with daylight coming in. We are lighting the whole thing with large hmi:s. Then we thought we could use the warehouse as a studio and just put up the screen there, using the hmi:s as lighting for the actors. Saves time and money, he he he. Would it be better to use a blue screen and light it with hmi:s? Or stick with the green screen?

Hello. Im shooting a commercial next week wich features 5 different setups. They are all going to be shot in 100fps slowmotion so we have to use 16mm (no budget for 35mm sadly). Im shooting with fuji eterna 250D the whole way trough because its a good allround film for the different locations. The problem is that one of the scenes are going to be shot in front of a green screen and now the director got worried that it would be a problem to do it with 250D film. He once shot green screen with 16mm kodak 200T and had big problems with the grain when they tried to key the screen. Is it really a problem with green screen and 16mm nowadays? I was thinking of going with 64D for the greenscreen thing, but is it really less grain in that one? I´ve shot eterna 250D earlier and never had much problem with grain. I never did green screen with it though. Thats my only concern. I think we are doing the telecine on a spirit. Thanks for any input on this one!

Actually, yes! Last time we shot some setups with a 50mm lens wich looked great. But all the wide lenses are grainy. And this time we only used the wider ones wich resulted in the grain..... hmm strange. Does someone have a good answer to that? I was thinking the other day that next time I might use a slow daylight stock but correct it with a blue filter on the camera . Is that completely stupid? We have plenty of lights in the roof (f11 on a 500T stock!) and since they might not want to change location and lights I was thinking about that solution. Or would it be better to correct all the lights (wich is a pretty big job for one tv-studio electrician he he) Thanks a bunch for all the input! Crille

It´s actually not a blue screen. The style of the films is to keep all the blue in the background. But I will try the daylight film and overexposure. We´re using spirit telecine. Thanks!

Thank you david! I will try that the next time. The only problem is that we are shooting it in a tv-studio (due to budget issues) with tungsten lights already rigged in the roof. I will try to see if I can correct the lights with CTB and use daylight film. Otherwise I´ll try to convince them to change to hmi. Thanks again Christian Haag

Hello. I filmed two commercials this year, for the same company and with the same setup. A completely blue studio with people and products interacting in it. It is not a bluescreen studio, it´s more of a babyblue color to it. The problem I´ve had both of the times is that the pictures become so grainy. I´m shooting on 16mm film and exposing it correctly. The first time I used Fuji 125T and the other time Eterna 500T. But the problem was there both of the times. We had to use noisereduction in the telecine to get rid of the worst grains wich made the picture look smeared and out of focus. I´ve heard from different sources that the blue channel is the most "grainy". especially with 16mm. Thas anyone know about this? I´m doing the same kind of shoot in a couple of month and I don´t want it to happen again. Thanks! Christian Haag

Hey everyone. I was wondering if anyone knows about some webpage where you can upload your showreel. One with decent quality and decent reputation (I don´t want to use youtube and such). I haven´t had the time or knowledge to do my own webpage so right know I´m sticking with dvd:s that I´m sending to people. But It would be great to just send an link to someone on the other side of the world if they wan´t to get a feeling of your work. I´m based in stockholm, sweden so if anyone know about a swedish-based webpage that would be even better. This forum is the best one I´ve ever been to. I just love that everyone is so helpful and open instead of keeping everything to themselfs. Keep it up!! Christian Haag