Daniel Carruthers

I have to do 2 camera angles with a carmount that suctioncups to the hood and sidedoor of the car. The hood shot has a very bad reflection off the front windshield. I used a polarizing filter and I'm driving in open road with no trees but i still get a bad relflection of the sky. It's usuable but any other tricks to help it?

 

MAINLY what I'm trying to figure out is when I have a side shot looking in from the passenger window I'm trying to figure out how to have the window down but not have my actress's hair blowing. Later in my film you see the ext. of the car in an accident and the windows are up. So the windows are supposed to be up. But if they are closed for the shot you'll see the reflection of the camera. Any ideas?

Polarizers only work if the light source is 90 degree from the camera.

if the sun is directly behind the camera or in front of the camera it has little or no affect

as for the side car mount shot,I recently did the exact same shot,but at night, I kept the window up.

mainly because of sound reasons.

I didnt see any camera reflections in my shot,but then again I shot at night under city lights?

I didnt use a polorisor either,because I needed as much light as possible from the street lights.

I did light up the interior of the car with a small kino, so maybe that helped cancel out some reflections from the outside??

anyways If you need to keep the window down,I would build some sort of tent around the camera covering the open window.

just make sure its sound freindly,and maybe get a clear material so it dosent cut out the natural light?

that should help with the wind

if that doesnt work,just keep the window up,make sure you shoot the scene when the sun is in the right spot for a polorizor to work.

also try different focal lengths

my side car shot I kept on a long lens,so the passenger was on a side profile CU, eyes to chin. and the driver was more on a mid shot, shoulders to top of head

that might help hide reflections of the camera,because any camera reflections will be blown up and should be more out of focus.

Ira

I like to have a mattebox because its easier to apply muiltiple filters with out vignetting

somtimes I'll shoot with 3 filters in a mattbox, and its just easier to slide out a filter holder rather than screwing on a circular filter, or replying the filter if the the weather keeps changing?

and yes a mattbox does help cut out lens flare,which is a bonus

and the reason why I have so many 3x3 filters is because they fit in our eclair npr mattbox and arri BL

thanks for all your replies I'll look into the sr2 mattbox

I'l start looking into the screw on mattbox

but the thing is I already have a couple dozen 3x3 tiffen filters, is it possible to get a screw on mattbox that will take these filters

thanks

Hey

is there a mattbox that will fit on the K3?

or do you guys know a way to rig a mattebox to fit the k3

Hey I got to mount a camera to a hood of a car tomorow

and we've been getting some heavy rain lately

Im using a suction mount,and I know when you applie the mount the surface has to be dry.

so my question is,if it starts raining during the shot,do I have to worry about the mount coming lose or sliding off the car.

I wouldnt think it would happen,because those mounts are very strong

but cant be too safe

Hey Im shooting a short film tommorow

I was gonna shoot on the JVC gyhd250 but at the last minute it got changed to the HVX

Anyways, I cant seem to find 24pa all I see is 24p and 24pn?

what is 24PN is it the same as 24PA?

I want to shoot this with the possibility of a release on film.

thanks

I got a short film coming up this weekend

Im shooting on the JVC GY HD250

and the editor wants to know if he can capture the footage using a different camera?

does it have to be captured using an HDV camera,or could it just be a mini dv camera??

I think either,but I dont know for sure

hey Kristian

On the my K-3 it looks like the conversion was done on the left side.

can the conversion be done on either sides??

I'll know once when I shoot some tests

thanks

Well I just realised there already was a topic about this commercial?!

sorry :(

oh well the more the merrier..... :rolleyes:

hey wanted to start a new thread about this DSLR Camera

Canon EOS 5D Commercial

This was shot on a DSLR!!

Im sure most of you heard about this,but I cant find enough topics on this camera,and I want to know what YOU(cinematographers) think about this commercial,and this camera.

The DOP was Vincent Laforet,who is a still photographer.

for those who dont know this camera is a DSLR, that shoots 1080p video

and is a full frame 35mm sensor.

so it will take all of canons EF mount lens

unfortunatly the camera only shoots 30fps:(

but hey, it would be great for DVD, commercials and broadcasting

anyways I want to know what your guys thoughts are?

Short answer; at this time, no not really. In the future it is possible but I don't see it becoming mainstream. There are plenty of issues with using a DSLR as a film rig (though it's essentially the idea behind RED cameras). The biggest issue is ergonomics, rolling shutter effects on those cameras, audio inputs, record time, and editorial for the footage later on. And of course if this were fully solved, would it really still be a DSLR?

What do you mean rolling shutter effects?

as for audio, you could sinc it up right,just like with a film camera?

I also read that the camera only shoots at 30 fps, which would work fine for dvd,broadcasting

This really interests me too.

I dont know enough about the camera to answer your questions,but Im curious to know what other people think too?

do you think dslr will be the next big thing in the independent filmmaking world

its strange to think of using an dslr to make a movie? but full frame 35mm,does sound very pleasing

Hi Daniel,

 

I think that is quite normal. When Les Bosher converted my K3, he recentered the lens mount, changed to Nikon mount and did a great job. But he told me that converting the viewfinder/ ground glass would be very difficult. So I have to imagine about 20% to the right of my frame when I shoot. Sounds like you have to do the same.

 

Kristian

Thanks Kristian

I was worried thats what would I have to do,oh well, I'll be shooting some test soon

thanks again

Hey the Film co op I work for recently purchases a K-3 s16mm camera for dirt cheap.

the filmgate looks like it has been converted to s16,but when I look thorugh the viewfinder,it looks like a normal 16mm aspect ratio.

So Im wondering how to get the ground glass converted to s16mm

I have yet to shoot some tests with the camera,so maybe the groundglass is fine??

I recently shot some 7219,I was very pleased with the results

I just shot regular 16,and there was some grain but it was not distracting.

I overexposed it by 1 stop,sometimes more.

and I agree its very low in contrast

I agree I didnt like the day for night in Pans Labyrinth for the same reasons,too many hot highlights.

I know its a pain in the ass to light a forrest at night:(

But I wish he did that instead,it would have better matched up to the nighttime footage of the Labyrinth.

plus he lit those scenes so beautifully, the hard contrast of color and showdows.

with the day for night it was the complete opposite.and it stood out and was very obvious it was daytime.

some good day for night is Bill butlers work on Jaws

I cant imagine how hard it must of been shooting on the water and trying to make it look like night time

Oh I see what your saying Andy

good point

I'll defenetly separate those 2 black and white shots

In the next few weeks I'll post my updated version of this reel,hopefully with some new footage too?

thanks

Dan

Hey Andy

thanks for your comments

I was never happy with the way I lit the hospital with the pregnant women, I always thought it was pretty flat,But I was really pressed for time when we where shooting.

but what I do like is the camera work for that scene.

I'll work with it some more,and maybe move it more in the middle.

Also Im not too sure if I follow you about the B&W pool room stuff.

it actually takes place during the same day,it does play out differently in the music video, and I think it works.

I wasnt trying to light from the windows,I wanted a hot top light look for most of that scene

But I did attentionaly overexpose the windows for a flaired out effect with heavy promist filters on the lens

do you think it doesnt match up?it was a dark room to shoot in,and the natural light hardly even lit the set.

and I didnt want to go for a window lit look, so for the reverse footage with the girl falling on the guys lap,it was supposed to look lit from a over head practical thats off camera, motivated by the pool table lights.

I might be getting more of that footage,we did some great dolly work,and it shows off the set alot better,so as soon as I get access to those shots,hopefully it might blend everything together better,and it will make more sense??

anyways thanks for your comments,and I'll probly move alot of the outdoor footage closer to the begining

I always try to use some softening filters on HD

especially the hvx

it takes away the hard digital look,and I find it makes clipping a bit more pleasing

I mainly use a 1/3 Promist, sometimes a half

Ok so here I am again.

The rack focus to the geese has a bit of a jitter right before you pan up (not too noticeable to most, but something to make note of)

The club dance scenes I mildly don't like; as it feel less "cinematographic" if that makes sense?

I think the music is appropriate and takes care of all that drag stuff.

and that's really all i can think of, myself.

Thanks Adrian

I think I know what you mean with the dance footage.

I shot some slow motion breakdancing footage(which I dont have yet)

but when I do maybe I'll replace it with that?

and I'll probly lose the geese shot,when I get more of my footage from the editor

thanks again

Dan

As soon as i can give it a finer comb; i will (give me a few hours tonight and i'll give it a look)

thanks

It looks pretty good. I"m watching it on mute, so i can't comment on the sound. I like the 1920s/30's style black and white a lot. Some of the color shots, while fine, I think don't really add too much. And also, without music, it felt a bit long...

Thanks Im quite happy with the Black and white footage my self

that was shot on 7222

everything is better listening to music,I can imagine it would be dull

try the music,Its from the Untouchables

If you can be specific on the color footage,what stuff is no good,what stuff should stay and what should go??

cause I cant make up my mind??

thanks

hmmm no comments???

is it really that good? :rolleyes:

lol Id appreciate some feedback, good or bad

thanks

very nice work

I also like the framing and dolly work

and the lighting looks very natural, did you use some promist or diffusion filters for some shots?

oops I almost forgot

please make sure to watch the high quality version 44mb, the low version is my OLD reel.

I need to get that one taken off:( I forgot hahaha

Dan