Rajavel Olhiveeran

Yes David. i got wat u mean. i had recently done a test shoot in the exact location where i am going to be shooting my film. its a hill station...amd the season is generally cold, misty and cloudy. but when the sun opens it is reasonably harsh in that altitude. i had tested on 250 D and 200 T kodak. i could take only two stcoks...free!! for testing. so couldnt test the low speed stocks. now i am thinking if i should go for the sharpest stcks possible...as u said. at the same time i shouldnt get stuck in the misty woods or cloudy ..drizzzling times. Is the 250 D sharp enough incomparison to 50 D for the DI purpose.? i am gona be shooting on super 35. arri 435. zeiss ultra prime lens 16, 24, 32, 50, 85, HR zoom. Doing DI. i have been plannng to change the look of the film gradually as the script moves forward. so i want the first 40% to be warm (may be i will shoot with 50 D for day ext and 250 D for day Int).......and then slowwly reduce the warmth and increase the cool tone and gradually make it stark at the end of the film.....(may be i will shoot 100 T 5212 without filter for Day ext and 200 T 5274 without filter for Day interior) for the cool look. but use 5218 for all night scenes throughout the film...... please give me ur feedback on my plan of action......Actuallly i am trying to follow the tone pattern as of the "The Portrait of a lady'..wonder what stocks they had used for their emotional storytelling.... Thanks a zillion.

THANKS DAVID. going by ur ranking.....which of the stocks follow that ranking...if u may suggest from ur experience. becos i know kodak 50 D is sharp and the least grain...will it work well for cloudy...rainy location or does it work best in the bright light conditioons as the brand promotes. thanks again

Hi all am gona be doing DI for my next feature. > Does it make economical sense for me to shoot with kodak Vision 1 series (cheaper than Vision 2). 5274/5278 than 5217/5218. OR even can i go for fuji (even cheaper) but without loosing an opportunity to get the best image output. > how much of this stock selection will affect my output in the DI. thanks. eagerly awaiting ur guidance!

dear all am gonna be doing my next feature....on super 35 (my debut in super 35)....and so hence would be doing a DI for the film. the final projection gona be on film. will be doing a 2K scanning. though it is a powerful tool in the present day filmmaking......i would like to make the best use of it. >>how do i plan for the best output....what all ways in which i could preplan in my production stages to get a phenomenal output from the DI...... >>the more i know about the features and the possibilites of the tool can i use it properly.....where do i get that kind of knowlege from..websites..articles...examples. (wouldnt be able to get time to learn sitting with the equipment) >>becos i am going to DI..does it mean i dont need to use camera filters to get closer to the look i want. will i be spoiling the negative if i try using filters. but i figured out that ....in need of a cool look i shot tungsten stock 5217 without 85 filter....and also tried with filter. in the telecine i gOt the rich cool look with the sample wihtout 85. the sample with filter was flattening the imagewhen i tried adding blue in the post. so how do i tackle this. WILL IT BE THE SAME PROBLEM WITH DOING DI. should i get a clean negative and try everything in post? >>becos anyway i am doing a DI...does it make economical sense for me to go for kodak Vision 1 series (cheaper than Vision 2). 5274/5278 than 5217/5218. how much of this stock selection will affect my output in the DI. thanks rajavel

hi kervin u had asked about the ..."shampoo commercials having even sheen hair "...and that is not soft source light. that is hard lighting. actually i was working on a few hair shampoo commercials with a cinematographer from hongkong who specilaises in it. that was lot of work for that kind of lighting. each and every shine that u get on a volume of hair is lit by a single light each....and the spill over light cut off ...from each other....crazy flagging of has to be done....to get the perfect sheen....even worse if the woman is going to be walking.....the hair is made to bounce by a magic thread (invisible) by two people walking along the model ......and a whole of care cheers! rajavel

john we all miss u a lot. rajavel

hey i have done a similar shot in my recent film....i had used a what we call here as the boom rod....that has a pipe within a pipe that can extended and clamped whichever length u want and can be firmly tightened agaisnt the walls close to the ceiling.(wall to wall fixture) the room i had shot had a false cieling so...that wudnt have taken the weight of lights.... once u rig up this...the choice of lighting is immense.....right from dedo spot lights to par cans to 10 bank kinoflos.....and of-course ur chinese lanterns.... u will have to overlap the wiring which goes up there along with some door curtains or pillars....or any other wall hanging.... when u rig it up this way....u are not restricted ...interms of camera levels and lenses (wide).....and u give lot of freedom to the actors to perform.... thanks cheeers! rajavel

thanks David. he was so inspiring....and equally inspiring was the Wong Kar woi's interviews on the same page! their filmmaking is so soulful! cheers! rajavel

hi all the flickering effect on FILM was beautifully created for the flashback seq in 'ILLUSIONIST'...wonder how...wish someone gives ideas on that....thanks cheers rajavel

hi all wondering how the effect of 'Autochrome' was recreated for the flashback seq in the movie 'Illusionist'. it was a fantastic look with the edges flickering! how did they manage???? anyone to clear the illusion of autochrome! thanks. cheers!

while shooting anamorphic, the eyepiece will have two options.....first option is to see the correct ratio and the other one is the sqeezed version. the catch is that when u want to see the correct ration image ..the image doesn't look sharp but it is ok to compose and shoot. BUT while u are preparing for a shot it is better to see the squeeze version...for sharper focus....u can fix focus on lens wiht this option. otherwise it is GREAT FUN on anamorphic. i have used HAWK lens ffor my feature films. on the other hand i am rearing to shoot one day on super 35...for the range of lens i can choose from .... cheers!

hi forum members i was surprised to see one of the topics i posted vanish just like that without a trace......any reason behind it.....has it been moved elsewhere......will be great if am brought to light. the topic was posted in general discussion...forum....topic was 'red....4k camera is it a threat to film?' thanks cheers!

well said david...... recently i had a similar experience...my first film had songs with a group of college girls and some funky music...it was shot like a music video my second feature had a song with a beggar on the streets......which i had skip bleached.....i thought that i had captured the right mood by that tone...... now...when i had these two on my showreel.......some guys (wanabe directors) iritated the guts out me by asking things like...."why is ur 1st movie better looking than the second......didnt u get the right equipments'......" your work is better in the 1st" and things......... just reminded of that......when u said that....what stands before the camera influences all......+ vely or - ve ly...depending waht stands...... cheers

thanks people.... am gonna test this with a single can of 5222 ...and then if everything goes fine i will ...place the final order for 5222. thanks cheers!

THANKS MR.DAVID

hi all i had earlier skip bleach processed directly on the negative for a small flash-back sequence. it worked interestingly. though the exterior shots were little blown out more than i expected.... how will a negative react if i am gonna under expose by two stops and combine the SKIP bleach process with the 2 stops PUSH process??? normally push process saturate the colors right? how do we achieve the High contrast + high color saturation chris doyle's films!! thanks cheers!!

hi that's ofcourse great looking. isn't it so much in the DI ....that such a kind of look is possible, though production design lays the basic foundation for it. is it possible to get such a period look without DI.....? any such examples of period films! and how they manages it? thanks cheers!

thanks Mr.David but what u said just didnt sink in to me......is there any book or source i can hunt to get that technical information in detail. OR if u could please explain to me...it will be great. thanks. cheers!

hi all....need ur guidance i am shooting a feature film which involves a flash back sequence that gets cut frequently with the present day sequence. its mostly interior....Day and Night. i am not going for a DI due to the budget constraint. i will be shooting on arri 435 or arri 3 with anamorphic lens. i have decided to go for 5222 fr B/W flash back, present Day Ext on 5274, present day INT (Day & Night) on 5279. 80% of the film involves INTERIORs. ideally i will have used 250 D vision 2 5205 for Day Int.....but i am afraid that it might not cut well with the 5274 and 5222. and also it works out much COSTLIER stock than 5279. for the PRESENT DAY sequence i PREFER to have a much SHARPER AND COLORFUL image.....but i cant use slower stocks for the fact that my aperture opening in the anamorphic lens is safest at 4-5.6 and to boost light to that level on slower stocks would be expensive. kindly guide me if my assumptions and decisions based on that are right or not.....? please suggest an ideal combination of stock ......? what if i go for FUJI.....which stock should i combine? thanks. cheers!

hi all for my coming up feature film project i have planned to shoot in BW 5222 for the flash back sequnce and use 5274 (EXT DAY) and 5279 (INT Day/Night & EXT night) for present day seq. i do not have the budget for the DI. so i will have to be extremely careful in handling the final output of the film. will i have trouble when i am intercutting the B/W negative and color negative VERY frequently? i have planned to print the entire film (both B/w and color) on one color PRINT STOCK. is that OK? any other tips on how to handle a situation like this. thanks . cheers!

thanks Mr.Robert for the feedback. - regrading the shot cutting bak to a wide shot....I agree with u. but editor's taste is gone....wild - shot from behind the branches of a bush.......ya...that was not their house...they are coming out of a temple after their prayers...and we were not given permission to take camera inside the temple....and i didnt get a clean frame through the entrance way....so hence hanging from the compund wall to take that spying shot. - narrative style has been planned like that....like a poetry...and story telling. thanks cheers! thanks Mr.Amit. great to hear.

Thanks Mark for ur genuine feedback. great. i perfectly undestand ur views. "00.38 LS of boy and girl at the river CU of boy pushing boat cut back to same camera angle and distance. Its best to change the angle and image size otherwise it looks as if we went back to where we came and editing must be disceet." Yes....i too believe in waht u said. infact when i had taken that shot....i kept in mind the ...the pan from the boat to paper boat...stay on the close up of hand ...and cut to the wide of the two kids playing...and then they move out of the shot....this was in my mind....i dont know Y the editor had to bring the CU of the hand again inside the pattern...... [iI could go on like this but perhaps I may not understand the style of film making within the culture its set.. [/i] Mark...i think u should go on like this more ..so that i can evolve as i had told u earlier.....i will get a different angle to the plot of creating images.....please go on if u have time.... Thanks once again! it matters!

hi all i cant resist posting this in this forum......and not just in the 'critique my work'. please creators.....need ur feedback on the latest short film i did......comment on my cinematography....rip it apart wherever required so that u give me an opportunity to evolve ...to do better cinematography! my director suraj has uploaded this at http://www.ifilm.com/video/2821271 we have just sent it to some international film festivals......its great to Participate. its as good a feeling as participating in this forum of global film makers......that one thing that connects everyone here! feedback please!....thanks. cheers!

hi all finally the short film is ready and is uploaded. my director has done the uploading part....u can find it at http://www.ifilm.com/video/2821271 please critique my cinematographyfor this short film.....shot on Sony DSR 390....over three days in various parts of the 'gods own country'...kerala in India. there are some 'period' looking scenes......feedback please! we have just sent this to some international film festivals....LA...cannes....and like! enjoy the Indian flavour! thanks cheers!

and hey..why is he wearing the cinesaddle like that.....is it for his hand support..!