J Costantini

hi

I noticed that the numbers of the ND filters on this camera (AG-DVX100) are:

1/8 for ND1 and 1/64 for ND2.

What do these numbers represent in terms of f-stop compensation?

I know a little bit about ND filters (.3, .6, .9, etc) and that they cut 1, 2 and 3 stops. But I can´t understand these numbers.

THanks

Why should I use a diffusion filter to control sharpness between focal lengths?

And what exactly do the SOFT-FX filters do?

Won´t they make the close-up look too soft comparing to the wider shots? What should I do to avoid it?

What about the diopter? is that the one used to put an especific area of the frame in focus?

Thanks

i have some material that was digitized under regular video configurations and suffered no pulldown removal.

will it help if I redigitize the exact same clips after the editing is over (just batching again - using the same timecodes and in and out marks) but this time with correct 24P pulldown configurations?

Hi.

What is the best place in the US to get my minidv 24P material transfered to 16mm (w/ sound track)?

I mean CHEAPER.

Thanks

But which mode is recommended if I want to transfer my material to 35mm film?

Hi.

Can you guys explain to me the differences between the 24P mode and the 24PA (advanced) mode on the AG-DVX100 camera, please?

When to use one and when to use the other one?

I have an idea of what the cine-like gamma does with the "characteristic curve" and I´ve also seen some graphics about this issue. (you can comment about this feature anyway, and please do!)

But what exactly the CINE-LIKE MATRIX does to my image?

Every advice or tip is welcome.

Thanks.

Hi.

I know that the S16 negative area is larger than regular 16 thus it´s much better when you intend to get it transfered to 35mm for projection.

However, does it make any difference to shoot S16 or regular 16 if your goal is to have it telecined and finished on video?

Will that small negative area added by the S16 format make the difference on the video material after the telecine?

Thanks.

thanks

the `conversational tone, and doesn't try to speak above you´ part is what I´m looking for...

Mpanc1,

any recommendations on books about lighting?

thanks

Hi

I would like to hear some opinions about this book:

The Camera Assistant: A Complete Professional Handbook

by Douglas C. Hart

seems to be an interesting book. but is it worth 60 dollars?

Thanks

Hi.

I photographed this film he´s talking about.

if you get to see the still image, feedback is welcome

thanks

look upon "dusk for night" or even "day for night"

this may help

http://videomaker.com/scripts/article.cfm?id=8150

also

books like "cinematography" or "film lighting" (both by kris malkiewicz) may be useful as a starter.

dusk for night is great for when you have to shoot a "night looking" scene and dont have enough lights (or money) to light a big area.

you can always print it down a little bit in post.

shooting daylight with lots of light.

what is probably to show finer grain? 250D or 50D pushed 1 stop?

what about the differences in the look? will 50D pushed 1 stop be more saturated?

is it always better to OVERexpose in 16mm?

Is it easier to bring it down later?

Where does the negative tend to show more grain? Highlights or lows?

What is the best thing to do when you want to crush the blacks (good blacks)?

thanks

I guess `density´ is the key. But how to get it right?

Why do some shots work and other don´t?

Try to see if there´s any similarity between the "grainy shots" in terms of lighting or exposure. Try to remember what aperture you used.

What about the footcandles?

Where did you place what appears to be grainier on the so called "straight line portion" of the characteristic curve?

Why do some shots are crispy but others appear grainy?

Good question, I would like to get some info too.

Do you have a general idea of how much weight can a polecat take? I don´t...

I´m sure it depends on the size of the pole but shouldn´t be a lot, right?

?

These are questions, not only suggestions:

What is more indicated to create this sunlight coming in from the door? hard or diffused light?

If you´re shooting tungsten film, what about adding a 1/8 CTO to warm the all white tungsten light? would it possibly look interesting or would it become unrealisticly reddish?

Since it´s daytime, wouldn´t it be interesting to add lots of fill light to the corridor? what would be the best solution for this given the space? bouncing ?

I once saw a DP that instead of lights themselves, he hanged a white balloon and used it to reflect the light. He then pointed 2 HMIs (probably more powerful than 1.2k each - but in your case you can use 3 or 4) at it from the ground and came out with a beautiful soft moon light.

If you can´t get a balloon, try a thick white cloth.

I´ve never built a moonbox. If you can´t build one at the end, try this solution. Either the cloth or the balloon will definitively be easier to hang.

Of course it all depends on the size of the area to be lit.

I had a total change of careers at the age of 28...

<{POST_SNAPBACK}>

what happened?!

Hi, everybody.

Actually, this is just a space that I´ve opened so that I could hear a little bit from those who have photographed feature films. No matter their budgets or formats.

I don´t underestimate short films. I love them and that´s what I´ve been working on for the past 3 years. I don´t see them just as a school but as a type of film. A compressed type in terms of time not of ideas.

But features tend to have bigger budgets, crews and longer shooting periods thus bringing more responsibility to all the members of the crew. Some like to call it pressure.

I would like to hear about your feelings and fears on your first feature film.

How was it to photograph a feature film for the first time? How did you feel?

Thanks. :D

Hi.

Do you guys know about these Kodak´s dvds called "Master Series"?

Are they any good?

There are lots of important names on them but are they really instructional?

Thanks

OK, David.

I knew you would understand what I meant by "advantages of the new edition". New info, new technologies covered, etc. No doubt about your great collaboration to this forum and to the book I´m sure. :)

looking forward to get the book!

Thanks

mine is the second edition

what are the advantages of the new edition? should i get the new one?

"Matters of Light and Depth".

I saw it once at amazon.

Is that a good book about lighting?

Thanks

SAM,

Do you mean "Bus 174" ? The Brazilian documentary about a guy that "hijacked" a stopped bus for some hours in Rio?

This is one of the best films on the subject of violence in Rio ever. it goes deep into the reality of those "street kids"... and you start wondering "if he´s not faulted, who is?"

Great movie. Not a reference for cinematography, but for life.

ok, let me see.

slower ASA for less grain.

overexpose to get higher density and crush the blacks.

sharp lenses... would you recommend the zeiss series? Are they sharper than the cooke S4 series?

Will filters influence on the sharpness? Ever?

These are basic recommendations for when shooting super-16 too, right?

Now, David, what is your favourite? shooting anamorphic or super 35?

Or will it depend on the project requirements?

And last: do you know a book called CINEMATOGRAPHY by Kris Malkiewicz?

Thanks for sharing your experience,

your help is very appreciated for all of us in this forum.