Burak Oguz Saguner

Hi folks, I have updated my website & blog. It would be great if you could take the time to check it out and give some feedback. Here it is; burakoguzsaguner.com Thank you all in advance

Hey Mark, Thanks for your reply. You are right. I guess couldn't ask my question properly. What I want to do was to find underwater lights so that the light source from pool can be seen in the image but it is all good now. We will shoot this scene in a different way now. Thanks again for your time. Really appreciate your in put

Sorry for the mistake. I meant, So I am trying to find some lights to set up underwater to get the effect.

Hi All, I will be shooting a film starting on 15 March 2012. there is a pool scene in the film that needs to be lit similar to this reference image... Where I am stuck is that there are no lights fitted in side the pool. So I am trying to some lights to set up underwater to get the effect. Any suggestions will be much appreciated. Thanks for your time in advance Burak

I don’t want to waste my life discussing this topic; this is neither an idea of mine nor my invention. It is a common business practice. Here is a section of Mr. David Mullen ASC entry, as he explained in his post on the first page of this thread: “Now in terms of having the right to be asked to color-correct the movie, that's common in most contracts for DP's. As for getting paid to be there, that's an issue of debate. It's not common right now, but it should be for no other reason than one should be paid for one's work, and post work is work. This is not a hobby, it's a job. For me to spend nearly a month doing the D.I. for a feature surrounded by people getting paid to be there -- colorist, editor, post supervisor, director, etc. -- and me being the only person there working for free is ridiculous.”

Let’s get one thing straight, I said that “I believe as DOPs we should be PART of the colour correction and mastering process”. This does not mean I am overruling nor have any intention of overruling directors and producers but merely there to finish my job and assist with the CC and mastering. A DOP not having a say in CC is like you going to a tailor, ordering him to make you a jacket and in the end trying to do the lining yourself. Lots of DOPs have clauses in their contracts about the CC process and there is good reason for it, and, if you sign my contract that has a CC clause will mean I have the right to be part of the process. So what is the argument here? I am so tired of being told who steers the ship. I know who does… and when my Camera Assistant, Gaffer or Grip come up with a suggestion I tend to listen and this has never sunk any ship. But thanks for the lecture mate.

Hey Richard, I am a DOP and believe we should be part of the colour correction and mastering process. At the end of the day we are the Directors of Photography and therefore have a right to ensure our work is respected and processed correctly to reach its rightful potential. So many directors - a lot of them without knowing what they are doing – colour correct and stuff the picture up. Then the film gets a release one way or another, people view it and the DOP’s reputation is on the line. In many circumstances, blacks are crashed, colours are bleeding or brightness and contrast are pushed so much everything blends into each other. Recently I shot a short film with RED. During the file conversion the picture got cropped and in some shots you can’t even see the head of the actors. This edit was previewed by some of the biggest names in the Australian independent film industry. How do you think this would have affected my reputation and my artistic merit? About the “battle” of reds and blues… I think as Directors and DOPs we have to decide and come to an agreement about the style and the tone of the picture before we start shooting and follow it through to the end. This is not about a power trip, a battle in CC or anywhere else but rather respecting your fellow artists work, knowledge, taste and livelihood. You hire a DOP because you like their work and their ability to produce the best possible image. I can’t see why it hurts so much to respect this and make proper use of our expertise. Regards

Hi ladies and gentlemen, I am preparing for a short film at the moment. The story is about life of a cab driver and it will be shot on HD. The script requires a lot of night time scenes in a cab. Currently I am looking for references. Does anyone have any suggestions, any still images, any films to have a look or lighting techniques, equipment? If you could take the time and give me some recommendations I will be grateful. Thank you for your time in advance Regards

Hi ladies and gentlemen, I am preparing for a short film at the moment. The story is about life of a cab driver and it will be shot on HD. The script requires a lot of night time scenes in a cab. Currently I am looking for references. Does anyone have any suggestions, any still images, any films to have a look or lighting techniques, equipment? If you could take the time and give me some recommendations I will be grateful. Thank you for your time in advance Regards

Thanks a lot Brian, I think this is a valid point. I have updated my CV and also changed the layout. Have a look at it if you like. Cheers

Hey all, I have just uploaded my website & resume and looking forward to hear your feed back. web www.burakoguzsaguner.com resume www.burakoguzsaguner.com/BurakOguzSagunerCV2009.pdf All your advice and suggestions will be much appreciated. Regards B

Thank you Danny, I have been waiting for some constructive critisizim for the works and it is great to hear : ) Thank you again for providing my regards burak

Hey all, Here is the reel from short film "The First Concert". Please check it out. I would like to hear what you think. Link to the video - http://www.myspace.com/burakoguzsaguner Cheers Burak Oguz Saguner

Hey all, Here is the reel from short film "The Death & Life of John Vaughan". Please check it out. I would like to hear what you think. Link to the video - http://www.myspace.com/burakoguzsaguner Cheers Burak Oguz Saguner

Hey all, Here is the reel from short film "The Death & Life of John Vaughan". Please check it out. I would like to hear what you think. Link to the video - http://www.myspace.com/burakoguzsaguner Cheers Burak Oguz Saguner

Hey all, Here is the new music video that I shot for C.W. Stoneking - Jungle Blues. Please check it out. I would like to hear what you think. Link to the video - http://www.myspace.com/burakoguzsaguner Cheers, Burak Oguz Saguner

Hello everyone, I have been searching for 35mm adapters for my Sony HRV-Z1 camera. There are few options I am considering: P+S Technik Brevis35 Letus35 extreme and finally SGpro P+S Technik would be pushing my budget but I think I could still afford it. I've read a lot about the adapters in the past few weeks but i feel that the information is a little sketchy and not thorough; what is so special about P+S technik and is it worth the cost? I've seen quite a few films made with different adapters with great results. Some advice and comments from people who have worked closely with P+S would be great. Especially about light loss, sharpness and value for quality. Any information would be greatly appreciated. I would also appreciate some suggestions about lenses that will give a good result with the adapters. Thanks for your time already. Burak Oguz Saguner

Hello every one! I need some urgent help... Can any one tell me how to create flickering light effect? both while i am shooting the source of light (which is a light bulb in this case) and while off shooting it. Thanks for your time! Burak

Hello every one! I need some urgent help... Can any one tell me how to create flickering light effect? both while i am shooting the source of light (which is a light bulb in this case) and while off shooting it. Thanks for your time! Burak

Hey everyone, I found a Arriflex 16mm SB that migth fit my budget. When you consider an indie feature do you think it is a good camera work with? Is it a loud camera and is it possible to record sync sound? What are the pluses and minuses of it? also what would you think if you compare it with a Bolex H16 EBM? Which one would be more advantageus? Thank you very much...

Hi all, I need your opinions about shooting an independent feature -also short drama- with a Bolex H16 EBM This is the package: Bolex H16 EBM Electric with custom 4 pin 12v cable. Speeds 10,18,24,50 crystal sinc.. the crystal snyc accessory , Bolex to C-mount adaptor, C mount to Nikon adaptor. Lens is Kern Vario-Switar 1:1.9 f16-100mm Poe Bolex h16rx. One 400 ft magazine... What do you think?

Hi F.R I am planing to use it for doco, music videos and couple film projects if posibble. I heard bolex had a crystal-sync motor. I dont know how can i record sound with K-3 considering also it is very loud...

I also like to know what would you think when you compare Krasnogorsk-3 16mm to Bolex H16 EBM... What would be the advantages and this advantages Thanks

Hello everyone, Again I will be asking for some advice. I have been considering Krasnogorsk-3 16mm as an option. As it is affordable and has a good reputation. I would like to here more aboutthe camera thou. Please share some of your knowledge ans experience about Krasnogorsk-3 16mm... the Thecnical spesifications: Lens: Meteor 5-1 f1.9/17-69mm. Zoom range 17-69mm, 8-48 frames per second, apertures 1.9-22, minimum focusing distance 2 m (without close up lens), M42 universal thread mount, semiautomatic aperture setting, 77x0.75mm filter thread. Viewfinder has diopter correction (+5...-4). The camera kit contains: - pistol grip - shoulder stock - wrist strap - zoom lever extension - lens hood - front cap - rear cap - cable release - 4 film spools - 2 eyepieces - 4 filters - 1 close-up lens - shoulder strap - original leather case - original manual English version of manual is included. Do you think it is a good package to start with

Hi every one! I just recieved my 16mm Kodak k100 Turret. I have limited knowledge of the camera... Couple of questions to start with... What are the options for audio recording? Any suggestions for lenses and angle viewfinders? Any other knowledge that could be usefull. Waiting for your replies... Regards Burak Oguz Saguner