David Schmüdde

That's just the tip I needed. I've never shot with a Blackmagic and was unfamiliar with "BMD Film". It was indeed double Rec.709'd. I viewed the sequence as BMD Film instead and that image aligned with my expectations. You're brilliant, thank you. Edit: Oh, and Will, just saw your post -- that's exactly what it was. Thanks!

Hello everyone, I'm not getting what I expect to see from my raw file. I suspected it was a colorspace issue, but I don't see any other people having the same problem. Here are two still photos, from the exact same night, with the exact same settings. Prores looks as I expected it: Raw looks to have a color temperature issue (no problem). Even worse, it is grainy and the blacks are crushed. I take it into Resolve and there just isn't much information in the black. It’s about a stop and a half under exposed at 1600, but that’s the amount of light we could afford to rent. I thought I may be looking at it in the wrong colorspace but I’m seeing no indication. Any ideas? Thanks, Schmuüdde

Thanks for your help. I was thinking about it by considering the size of the image on the sensor/film. Thinking about this in landscape mode: 35mm full frame is 36mm×24 mm - 1.5 aspect ratio 35mm HD TV is 36mmx20.25mm - 1.77 aspect ratio (16 : 9 = 36mm : X) My formula Hc (film height) / Lc (distance from lens to film) = Hh (human height) / Lh (distance from lens to human) Hc = 20.25mm Lc = 50mm (focal length of lens) Hh = 1.8m (6' - a constant given above) Hc / Lc = Hh / Lh .020m / .050m = 1.8m / Lh Lh = 4.5m or 15'. Did I do something wrong here?

I'm building stage setup and I need a specific number to estimate the amount of space I need. What I need to know is the distance necessary between a 6' tall subject and the camera for a wide shot. For some reason, I'm blanking on how to figure this. These are the constants: 35mm sensor size 50mm lens length 6' Tall Subject Wide Shot (includes top of the head to bottom of the feet) 16x9 frame dimension What I need to solve for: Distance between camera and still subjectCould someone help me here? Thanks, ~ü

Here are a list of workshops that Raindance film festival do year-around. Lots of different things for people living in the UK: http://www.raindance.co.uk/site/index.php?id=577,7622,0,0,1,0 Schmüdde Beyond the Frame - Techniques for Directors: http://www.directingfilm.net

Thanks for the lead! Schmüdde

Anyone have experience with these? I'm thinking about getting a Brute 9 but there aren't many reviews on the Brute series. There is a review of a prototype in American Cinematographer but I hesitate to really rely on that. They seem like an interesting alternative to 1x1 LED Panels. Thanks, Schmüdde www.directingfilm.net Beyond the Frame - Techniques for Directors

I'm going to keep bumping this until people say they don't want this resource. Here's Project: Involve: http://www.filmindependent.org/labs-and-programs/project-involve/ Project:Involve is Film Independent’s signature diversity program, dedicated to increasing diversity in the film industry by cultivating the careers of under-represented filmmakers. The program, which runs from October through June, selects filmmakers from diverse backgrounds and filmmaking tracks. During the nine-months, the Fellows are paired one-on-one with a mentor from the film industry, assigned to a team to make a short film incorporating a given theme, and attend monthly filmmaking workshops and other educational seminars. Hope this helps! Schmüdde Beyond the Frame - Techniques for Directors: http://www.directingfilm.net

More retreats and workshops for filmmakers to hone their skills: http://www.mainemedia.edu/workshops/film http://conference.ifp.org/filmmaker_conference/index.html http://www.roguefilmschool.com/default.asp I'm not endorsing any of these - still just compiling a list of non-academic or directly festival-related regular workshops around the USA. If anybody had an experience with these or more to add - please chime in! Cheers, Schmüdde http://www.earthcirclefilms.com http://www.schmudde.net

That's good advice Will. Why not start at the "top" (real) and work your way "down" (fx) to get an idea of what looks best. I'm going over to netflix right now. Deciding whether or not to have animations on the windshield to indicate motion at night has been one of the more difficult decisions. Thanks! Schmüdde

We have a film we just shot in post at Optimus here in Chicago. One of the scenes is shot straight from the "hood" of a car and frames the driver and passenger full-on. The steering wheel, dashboard and seats were pulled and re-built from a real Cadillac, everything else will composite in. The scene is at night on a country road so the scene will be pretty dark outside the actor's faces. So my question - what driving scenes from films, shot on green screen, do you really like? I'm deciding what I might want animated on the windshield, how I might want the car to respond to a relatively smooth pavement and finally what the back plate might look like (we still haven't shot it). Night would obviously be ideal. Any scene suggestions for reference? The less stylized, the more realistic, the better for this particular film. Thanks! Schmüdde

Thanks a lot guys... I really appreciate it. It makes me feel a lot more comfortable and I'm going to place an order soon. Cheers, Schmüdde

Hey guys and gals - I'm thinking about ordering some power options from Wittner in Germany for my 4008. I can't find much about people's experience with the company - which I'm assuming is a good thing - nothing to complain about. How's the equipment? Reliable? Is it not often discussed b/c most people make their own accessories for the Beaulieu? I wish I had the equipment to do so :-/ Anybody want to offer us some thoughts? Even good ones? How long should I expect an order to take from Germany --> Chicago. Thanks, Schmüdde

Hey Kris - I'm shooting in the studio soon as well and I like your idea but I don't understand your math. Am I missing something? ISO 64 -> ISO 100 is ~1 stop (or perhaps 2/3 of a stop, whatever) So if you're ISO 64/f.18 I think you'd compensate by going one stop smaller to ISO 100/f 2.5 (2.4) but you're going two f-stops smaller. What am I missing? Thanks Schmüdde