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Jacques Koudstaal

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About Jacques Koudstaal

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  • Occupation
    Cinematographer
  • Location
    South Africa

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  1. Hi JB, When you say 4th frame, are you referring to the shot from Gods Pocket set in an office with mounted animal heads? Thanks for your response.
  2. Hi there, I have a film coming up with a scene that takes place in a chapel. The chapel is not very big (roughly 45 feet x 15 feet) and has wooden shutters for windows which will be open. The challenge is that we shooting the entire day in this location but story wise this scene happens over 30 minutes. The back of the chapel faces north so the sun rises on the one side of the church and sets on the other - see floor plan with sun path. If budget and time was not a problem I would tent the windows and bring in lights to recreate the sun streaming through. I am looking to create a moody soft directional feel where there is some contrast happening in the shot. Just wondering if there are any budget friendly solutions your side where I would be able to maintain a soft directional light sources coming from one side of the church (east or west) through the windows? As it stands now I could use the sun, put it through silk and it would look great for a few hours but not enough to make our day. Let me know if you got any ideas? Many thanks, Jacques
  3. Hi there, I have a film coming up which sits in the suspense drama genres with a touch of comedy. The director has put forward a number of Coen brother films like Serious Man and Fargo as narrative references. Anyway, long story short we have quite a bit of the film that plays out in a house up on top of a mountain. I am really keen to bring the scripts drama out by playing with contrast but I really want to retain my high lights and my black level so I have detail in them. Looking at Harris Savides mainly, Lance Acord and Matthew Libatique in Mother! They really nail this dramatic look. Please check the references I added from Mother! and God’s Pocket. Looking at the references I would like to know what your preferred why or technique is to control the int exposure with ext spaces in the shot. I can see in Mother! the windows are looking out onto trees which are some what darker which helps the contrast. There are options with the ext. but I am curious to hear about techniques where I can increase the ambient light in the house without it looking like I have lit it. I am shooting Arriraw on Alexa Mini with Baltar lenses. It’s my first film shooting Arriraw so I have not tested this extensively. Kind regards, Jacques
  4. Thanks everyone for the input. I am heading to rental tomorrow so hopefully can nail down what i am dealing with.
  5. Hi Dom, Might explain why i could not find anything on the lens. I copied the details straight from the rate card. Thanks for your input!!
  6. Hi there, I am shooting a low budget psychological thriller. With our budget I have the option of the high speed f1.3 Zeiss or the Super Cooke. Shooting on the Alexa at 2k. My problem is i wont be able to do tests till the gear check because the lens are booked up till we shoot. I know the Zeiss 1.3 but not familiar with the super cooke, only the Cooke S4's. All i know is the super cooke are quite old. The ideal would be a side by side comparison to see the differences between the lens. Unfortunately its season here and the gear rental are wanting me to select 1 of the sets. Anyone have experience with the super cookes? Any comparisons test or frame grabs of work done with the super cookes? Many thanks, Jacques 18MM T2.8 SUPER COOKE 25MM T2.2 SUPER COOKE 32MM T2.3 SUPER COOKE 40MM T2.3 SUPER COOKE 50MM T2.3 SUPER COOKE 75MM T2.3 SUPER COOKE 100MM T2.8 SUPER COOKE
  7. Thanks Josh. The lens i was talking about John is the Cooke Varo-Panchro 20-60mm T3.1.
  8. Hi John, i was planning on shooting on the cooke s4's but i had to cut those due to budget. I did however managed to find an old cooke zoom lens - 20-60mm that i am planning on using for the scenes in the 80's and then the UP's for the modern day stuff. Not sure if anyone has some experience with the cooke 20-60?
  9. Ah ok, thats because black absorbs light while white reflects it.
  10. I think 6k is a good size light for what you looking for, it can be setup and operated by one person. You did not specify it but there are a few different types of 6k hmi's. I would recommemd the 6k Par, it has 30% more poke then the 6k compact as well as having a set of lens that come with the light so you can control the angle of the light. You will work quicker without lights that is forsure, not having to worry about lights, cables and genies will help. I would recommend finding locations that will help you. Limiting backgrounds, between buildings, alley ways etc and only if you get stuck then pull the light out the truck.
  11. Hi. I came across black silk today and was not entirely sure what its for. Cant seem to get any info on it online. I believe there is also black grid cloths as well. The black silk is a full silk but made from black thread and not white. I was told when you put a light through it, it gives you a soft directional look. It cuts the ambient light out and keeps the directional light. Not entirely sure why this is the case if this is true? Anybody come across black silk or black grid cloth before? Regards, Jacques
  12. Thanks Freya and Satsuki. i think film would be a winner with this project, seems like the obvious format but unfortunately i will have to make do with the Alexa because of budgetary constraints.
  13. Hi I am in prep to shoot a budget feature that is set in the 80's and present day. I am wanting to give the 80's a distinctive look, something more nostalgic and tending towards the warmer colours. I found 2 references (refer to attached files) from 500 Days of Summer that I really like and I think something similar could work for my film. Can anyone give me some input on the look that was achieved here? Do you think there were filters used or was it just post grade, or was it possible a lighting thing, or a combination? I know one can't tell for certain unless you were on set but I am hoping someone out there has come across something similar and has a point of view. From what I can see is the blacks are sitting more in the magenta range and the mids and highlights are sitting more towards the orange yellow. Is there a filter that can achieve something similar? I have done a few tests with Antique Suede, Chocolate, Coral, Gold and Tobacco filters. I did the tests at the rental house which did not give me a true reflection of what I will get because the locations, art and wardrobe in the film are quite specific and tend towards the browns, creams and oranges not gun metal grey and white like you find in most rentals. There is unfortunately no budget for me to do a proper test shoot so I am a little stuck. We shooting on Alexa with Zeiss Ultra Primes, I will have 10 days for grade. Thank you, Jacques
  14. Thanks Brian! I do agree with the running of the light. Its not an option. I think the reflector or direct with a light will be some what smoother. I think the only problem with the light and reflector is that you don't get a change in perspective of the light. The only way to do that I am guessing is to have the light moving - i.e. a dolly.
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