J Costantini

Hi, I would like to ask the community about options on LED panels... I´ve used the Litepanels, which are really nice, but very expensive gadgets...

So, do you know any other brands (more affordable) and places to get these panels in LA? A friend mentioned the TERRALUX, but I can´t seem to find them anymore at studiodepot...

thanks a lot

hi, I´m starting to prepare a project in which the director wants to make use of highspeed photography. i´ve shot highspeed shots but never combined with different shutter angles. do you have used this, for example, 75fps with 45 degree shutter... i´ve also shot scenes at 45 degrees but at 24fps, which creates the effect we all know, like in saving private ryan (they also used even lower angles, etc... just an example)...

so what happens if I combine 150 fps with 45 degree or 22, etc. do you have any examples on video?

we´ll be testing this soon, I just want to have an idea.

thanks a lot

Hi, I have also posted this message on the cinematography education forum.

I´m a Brazilian film student at EICTV and I would like to ask if you´re working on any production or if you know about a film set I could visit in LA area in August this year. I will be in town for 2 weeks and would like to take a quick look to see the style of work, lighting, be on a set there. I can get recommendation if necessary.

thanks a lot

Hi, I would like know if you guys know about anything going on in California in the beginning of August in terms of lighting or camera workshops, anything related to education on cinematography. I will be visiting LA by this time.

I would also be happy to visit a film set for a day or two.

Thanks

As far as I know they were developed by Dan Sasaki with Kaminski, though I really don't know who had what idea or how that process happened.

 

The lenses are pretty simple, just old Super Speeds (I think) with their anti-flare coatings removed. Some of them have the coatings partially removed/ all the elements have the coatings removed, or a few. Some are designated 'heavy' others 'light'. They are really not matched or organized, which was really the point of the lenses, to be very organic looking. I mean disorganized to the point that a few have some p-touch labels saying "Heavy" or "Light" and tons of dust, these are rarely used.

 

I wanted more of a matched set then Kaminski did, so I had them go through probably 50 lenses to get a roughly matched amount of flare from a lens projector. There were also several versions of each focal length, such as 3 different 50mm lenses. So I would take the 3, just put them on the camera and choose the one I liked best, pretty subjective.

 

I have no idea how matched they were even after shooting the entire thing! As I have seen the cut develop, I have definitely seen some mismatches, but I also have no idea if some of the differences were in the telecine of the dallies because I usually had two cameras running. That said, I am very happy with them, I think they had a great look for the project.

 

Kevin Zanit

thanks

Hi. Do you have information if it's possible to buy and develop 16mm BW negative in Mexico?

If yes, please send contact information.

Thanks

I preferred the look as well, especially projected. The flare lenses desaturated and lowered the contrast of the image.

 

I ended up using the flare lenses, and am really glad I did.

 

The ND.6 was probably so that I could keep the stop the same though out the tests.

 

Kevin Zanit

Hi Kevin

Can you tell us a little bit more about these FLARE lenses?? Personally I had never heard about them. Have they been designed specially for the film? By whom? At Mr. Kaminsky's request?

Thanks

Hi. I'm about to shoot a super8 project with kodak bw reversal film. I would like to know if you have any suggestions on where I could develop and telecine this material in Latin America, maybe Mexico?

thanks

Hello.

Do you guys know any place in Mexico where I could buy new super-8 stock at good prices?

THANKS

You're going to have to write that question more clearly if you want an answer. Are you talking about 3-perf when you mention the two frames being too close together? What do you mean by "isn't a pb"? Isn't a problem?

 

In Super-35, whether 3-perf or 4-perf, a 1.85 image that uses the whole Full Aperture width is larger than the standard 1.85 image that only uses the Academy width. Larger negative area means less grain, more detail. But it's not a huge difference in size, so not a major improvement in quality. But every little bit helps.

 

The 3-perf Full Aperture frame is about 1.78 : 1, so 1.85 fits inside this.

Got it. Thanks.

Yes, it all depends on if you are going to do a D.I. -- if yes, then why leave space for a soundtrack on the negative when you can use more of the negative for the scanning?

 

If you're not sure if you'll be doing a D.I., then it would be safer to shoot in standard 4-perf 35mm 1.85 rather than Super-35 1.85.

So

if a DI is guaranteed, I would get more information and possibly more resolution on telecine if I had shot S35 1.85 instead of 1.85 academy?

Is it possible to order discontinued stocks (such as 79 or 46 among others) in the United States?

I've heard of recent feature films that have used these stocks...

AND

do you know about websites (online stores) that sell negative film?

thank you

Hi.

I believe that people usually shoot S35 to have a final aspect ratio of 2.35:1. may be because of budget issues or to gain from super35's depth of field in constrast with anamorphic's etc.

When 1.85:1 aspect ratio is intended for print they usually shoot normal 35 full frame (gate) with 1.85 groundglass or straight with 1.85 gate.

my doubt is: why would someone want to shoot Super35 with 1.85 groundglass ?? I saw this on Arri's publication on 3-perf.

thanks

yes.

correction:

double-x and plus-x for negatives and plus-x and tri-x for reversals.

Hi.

I intend to begin a few experiments with black and white motion picture films.

I would to hear a little bit from you about your experiences with Tri-X and Double-X. What are the differences between these two stocks and why are they rated different ISOs.

What about the new reversal versions of these two? Have you ever tried?

Any comments and suggestions are very welcome.

THANKS!

Nillo... you've been here for awhile, don't you think it's time you updated your Display Name to a first and last name?

Pronto! and J is for Julio! :)

Hi

I would like to know what circle of confusion to consider when shooting super 16mm. Should I work with 35mm's or 16's?

Do you have a good depth of field table I could use? Containing all focal lenghts and circles of consusion (and distances in meters) ?

I'm also looking for the manual or depth of field table of the CANON 8-64mm T2.4 lens.

Thank you

I'm editing 720 24pN dvcpro material on final cut pro and would like to output it to a dvcam o beta format.... (ntsc 29.97).

I would like to ask how could I do this?

SHOULD I SHOOT ON 30P INSTEAD OF 24P SINCE IT'S ENDING ON SD NTSC ANYWAY? THIS WAY I WON'T NEED TO TOUCH THE FRAmE RATE...

thanks

You could try to change the shutter speed...

if you're running at 24P try using 1/60 shutter instead of 1/48 (normal).

I'm not sure about a grid.... it's not a show like "friends".... it's more "sex and the city" style... I think it's more of a film lighting than a tv show's...

Hi

I'm looking for advices and tips on tv shows' lighting. ideas and solutions are very welcome.

the project i'm working on will be shot on location not on a studio.

There's a scene where 60 people will be in a party in an apartment. there will be a bar next to the dance floor.

Ideas for lighting a party like this are very welcome. should I always use backlight?

what's a good contrast ratio for the faces? creative spots where the light could come from?

what do you think about using kinos for backlight and keylight?

will shoot on hvx200.

thanks

thanks a lot.

very interesting approach. selecting the lens focused on what the subject is and how she sees herself are good beginnings.

hello

i will shoot a short documentary (which could turn out to be a feature) soon.

it's about an actress who used to be very beautiful and glamourous in the 70s. there may be some other interviews with people that go to her house or family members when they show up there. but it won't be a film like "lots of interviews and compliments and funny stories". it's a film about her TODAY and she will be on the screen for the most part.

I'd like to get some advices not only for lighting her main interview but also camera work suggestions.

as we plan to shoot a few interviews with her (and they could be long) i'm planning to use a tripod instead of hand held. vary between a medium shot of her sitting and a close up. maybe an extreme close up sometimes. but as she has some "marks" of age i'm not sure if I should get that closer.

I was also planning to use a cheap solution such as a chinese lantern with a photoflood connected to a dimmer. and maybe a small kino for backlight. should I mix temperatures? have the keylight warm and backlight a little bluer? or the opposite?

we're using a dvx100A at 24PA gamma cinelike and matrix normal. setup at 7.5 and master ped at -2.

thank you for your suggestions.

If you have the chance to use kodak I suggest 7217 (200T) which is a fine grained stock and will react beautifully to bleach by pass. I'd suggest you to try underexposing 1 to 2 stops if you want to preserve your highlights a little more. But definately all the vision 2 line will handle bleach processing well. be careful with the 500 stocks specially 29.

Hi Everyone

 

I'm shooting a film in a month. I am very interesting in high contrast, rich black, a bit desaterated colour. therefore, the option would be bleach by pass, but is there any film stock which is specifically good for bleach by pass, or a stock that you use and think is great. personally, i am a big fun of kodak film stock, however, the production has better access to fuji.

 

would appreciate any personal insight or suggestions

 

cheers

 

Hu

Hi.

I'll be shooting this shortfilm in the woods surrounded by very green trees shooting a very white actor.

Dramatically I'd like to have this part of the story warmer than usual and I considered using a 812 filter on the lens.

Anybody has pictures (examples) of what this filter looks like? I have an idea but I'd like to see other examples of it in use. I believe it warms the skintones but what would happen to the foliage and trees and sky?

Is the image too "pink" when you use the 812? I'll be shooting with 7246 (old 250D).

Thanks a lot.