Ashim

Hi, It feels good to be back with the forum AND I REALLY NEED to ask you this. Is there some mechanism where the camera can shoot three different speeds( 12, 24, 48fps) simultaneously. I am not suggesting ramping. Two boxers are slugging it out in the ring And a single camera captures their actions at different speeds in one single shot. Thanks.

In that case, sir, should not the Boom be visible in the entire movie? Pardon my ignorance on this topic, even if the movie has been composed for a 1.85 format, why should the boom mike at all be a part of the frame??? Kindly help me out here, Thanks

Ive been wanting to ask this question for sometime now, I was watching a screening of Eternal Sunshine... and one shot in the movie intrigued me. I dont remember the scene but I could see the Boom Mike in the frame! Now Im sure the DoP did not compose the shot keepin the boom in mind, so what could be the reason for this? Thanks

Hi Ive been scouring the Net for some newbie info on 3D Tracking, but its hard to come by, So could you kindly enlight me on 3D tracking. What it is, and when and how is it used? Thanks

David, Ive been doin this for some time but have never quite understood as to why pulling out the fresnel lens help in achieve a more harder and crisper shadow. Thanks

Hi, Have been reading a few ASC Mags and often come across Lights being mounted on a Condor. What is a Condor?

Sir, Assuming I have a perfectly exposed negative, which shld print in the 30-40 range, I print it up. I use the lower numbers 15-17-19. How can I get a Brighter image when I am pumping less light through the negative onto the print film. Kindly clarify, Thank You

Hi, I'd like to know what would be the effect of exposing the negative perfectly(18% gray) and then printing it "up" during timing. Thank You

Dear friends, Before I begin I just want to convey my heartfelt thanks to all the members of this Community for sharing their experiences and educating members like me on various intersting facets of our Job. David, Stephen, Max, Brad, John...and everyone your effective suggestions and expert comments are extremely valuable and important to me. Alrighty Then... The creature peered at the distant shoreline while bobbing on the waves until its gaze finally fell upon the one thing it had been tirelessly waiting for since eternity. It instantly inclined its slender frame forward and started making a fiery advance towards the shore often leaping above the violent seas, its motion bearing a resemblence to a regal wave in the ocean leading its army to conquer unknown and mysterious lands... Questions: One of the shot of this sequence would be a POV SHOT of the Creature moving rapidly toward the shoreline. Now kindly tell me how can I execute this in the MIDDLE OF THE SEA? How can I MATCH THE CAMERAS MOVEMENT TO THAT OF A SINUSOIDAL WAVE? Is there ANY RIG that can help achieve this undulating motion? Also since the creature leaps and dives into the sea, how is it possible to CRASH THE CAMERA INTO THE WATER, be BELOW the surface for sometime and then REEMERGE? Doing underwater and above the surface at the same time? (Lenses, filter issues, etc) How much and what would be the VFX component in this shot? Or is it only possible in VFX? What are the VARIOUS TECHNICAL AND PRACTICAL CHALLENGES that would have to be confronted while executing the written text to screen? I am plain curious to learn the mechanics of this shot taking and would be extremely grateful if you all would be kind enough to help me execute it...albeit vicariously for the time being. Gracias.

Well Brad, Am not an American and this is my real name. Now could someone kindly help me with my query. Thanks

Hi, Could you kindly brief me on the various applications of a periscope lens system in our field. And is the Frazier lens system similar to that of a periscope? Thanks

Stephen: True. Its 9.2 Megapixels for each sensor, But is that the effective megapixel rate?And around how many MP do u need to mimic the resolution of 35mm film? Lastly what about about the pixel pitch? What is the ideal pixel size. And what are the drawbacks of both a large and small pixel pitch? Too many unrelated questions, am sorry but Id be thankful to yall if u cld shed some light on the above. Thanks

Hi I always wanted to know why is it that video cameras are lagging in the number of megapixels as compared to digital still cameras. Is it mainly the cost factor or any other reason? Thank You.

Hi, To get a very tight close up of an object, I have been using Dioptres for some while. I have never used a Macro Lens for the same since it involves relighting the scene and hence time consuption. I was thus wondering when are Macros preferred to Dioptres? Thanks

Actually the shot is this: The subject will be very close to the camera, closer than the minimum focussing distance. I want the subject and the background to be in focus. We had thougt of a Split field dioptre but unfortunately cannot go with that due to budget constraints. I dont think hyperfocal will help me with the subject this close to the lens. So what could be the possible solution for executing this shot? Thanks

One more thing: And what is the reason that some of the films shot on a Kodak Negative are printed on a Fuji Stock? Thank You

Thats a neat trick, indeed!

This might seem a very basic question but Ive gotta ask nonetheless. If I want everythin to be in apparent focus, should I set the lens to Infinity or Hyperfocal Distance? Kindly lemme kno. Thank You

And at what IRE levels shld the luminance of the chart with a 90% reflection be set? Thanks If possible cld u gimme some links to this topic.

I know the literature above may seem obtuse but I'd be thankful if you could kindly lemme know where I am going wrong here. Thank You

Hello How crucial is it to choose the right print stock? Wat are the various parameters for choosing one print stock over the others? (Just like in negative where one can go with a faster or slower stock, color temp, etc). Is it possible to increase or decrease the contrast with a print stock? And what is the reason that some of the films shot on a Kodak Negative are printed on a Fuji Stock?| Thanks

Anyone???

As cinematographers: Share some of the most challenging lighting setups you have encountered or Any setup which was particularly difficult to Light. Any Shooting Day in which the Lighting just didnt work and also any day when you surmounted the greatest odds to achieve a spectacular image! Do Light up your replies. Lighting is never Finished, It is Abandoned...GOD

I need to be De-Queried...