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Robert Gardner

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Posts posted by Robert Gardner

  1. hi there,

     

    i am planing on buying a new camera and have a hard time deciding between the canon xl-h1 and the new sony-z7.

    i am planing on using the camera mainly for wildlife filming, so i was thinking of the canon befor the new sony z-7 came out. now that sony also offers interchangable lenses i am stuck.

    i personally prefer sony over canon, but i am not sure if the sony is quite as good as the canon + it just came out and might still have some baby problems which have to be solved?

    anyone out there who could give me any piece of advise???

    it would be highly appriciated.

    cheers,

    rob

  2. You just need a camera which can be run with a long shutter duration, I have an eyemo with the revolution animation motor and i can program the motor to hold the shutter open i.e. 1 sec duration shutter2 sec interval or run at 1, 2 ,3 fps should get the streak you want. Depends on the speed of the motion, etc.

     

    -Rob-

     

    thanks rob,

     

    so would i get the same effect with a film camera running it at 2fps? it would not only speed my footage up a lot but also give me those streaks of light?

    cheers,

    rob

  3. hi there,

     

    i had a technical question of how to create slow shutter speed shots on film or video?

    i used to take lots of city portraits by night with a very slow shutter speed so that all the traffic looks like different color lines. i was wondering how to create an effect like that on video or film? is it done in the camera or in post? have a look at attachments.

    thanks for your thoughts,

    rob

    post-16242-1195746476.jpg

    post-16242-1195746487.jpg

  4. Hi,

    can anybody please help me with this. We're making a short film and we want to know, is it ok to put products in the film tht you do not have permission as such to show? Like 'Animal' the drummer from the Muppets. In the shot it would merely appear in the background and not featured in any way apart from its presence. Is it legal?

    any help on those legal mettars would be appreciated.

  5. Hi there,

    I just had a general question about story boards and shot lists. Who is creating the shot list on a feature film. Will it be left soley to the DP, or has the director a big impact? The same with story boards, will the director sit together with a story board artist and the DP and discuss every singel shot, or is it left to the DP to make those decisions.

    I was just curios how those things are handeld on big productions? As for me working on short films, I mainly create my own shot lists after having intense conversations with the director.

    Any thoughts on that would be great.

    Cheers,

    Rob

  6. Hey there,

    I was wondering if anyone has any experience using the P+S Technik 35 Mini Coverter, the Movietube Kinomatik, or the Redrock M2 adapter?

    I personaly worked with the P+S technik befor, but has not worked with the others yet.

    Maybe someone out there, who worked with the other adaptors can share his experience with me. I was quite happy with the P+S, but would love to work with an other one as well. I will be shooting a short next month on the Sony Z1, and am not sure if one of the other adaptors might work better.

    Any thoughts are highly welcome.

    If you are interested on the result I got with the P+S check out this video:

    http://www.20202.co.uk/contestant.php?user_id=21

    Thanks,

    Rob

  7. Hey there,

    I was wondering if anyone has any experience using the P+S Technik 35 Mini Coverter, the Movietube Kinomatik, or the Redrock M2 adapter?

    I personaly worked with the P+S technik befor, but has not worked with the others yet.

    Maybe someone out there, who worked with the other adaptors can share his experience with me. I was quite happy with the P+S, but would love to work with an other one as well. I will be shooting a short next month on the Sony Z1, and am not sure if one of the other adaptors might work better.

    Any thoughts are highly welcome.

    If you are interested on the result I got with the P+S check out this video:

    http://www.20202.co.uk/contestant.php?user_id=21

    Thanks,

    Rob

  8. See link: http://pro.jvc.com/prof/attributes/dealer_...e=D&tree=GA

    Hello... I am surprised to find this adapter as an accessory for 1/3" HDV cameras.

     

    I've always thought that rotating prisms and vibrating glass would eventually be a thing of the past,

    but are we already there? Does this PL adapter mean that I have 35mm depth of field without all

    the *stuff* going on in other adapters?

     

    If it's true, can I jump for joy?

     

    Many Thanks,

     

    Kal Karman

    Check out the P+S Technik 35mini converter.

    http://www.pstechnik.de/en/digitalfilm-min...p?region=Europe

    that might be a good option?!?

  9. Curious if anyone knows what the camera kit is like for Discovery HD's new series "Planet Earth"....

     

    One camera they've used was a Photron high speed camera.

    http://www.photron.com/

    I just shot a music video with it. We had a wolf running through a forset. We got amazing results from this camera.

    The only downside was that we were filming in North England, so the we lost loads of light from take to take.

    But I appreciate what those high speed cameras can do for you.

  10. Hi there,

    I'm not sure if that is the right forum for my question, so please bare with me.

    I was wondering what the best way is to callibrate a hd monitor.

    What do I need to look for when looking at the color bars???

    It might be a stupid question, but somehow I think I am doing the wrong thing when setting up my monitor.

    To be honest I haven't done it to often ( quite new to it ). I will be going to our local rental house next week to get a monitor. They said they can show me, but i would like to have a better understanding of it befor I go there.

    Any help would be great!!!

    Thanks a lot,

    Rob

  11. The Coral itself isn't affected by the Pola, but Polas themselves can have some slight affect on warmth of highlights outside as you rotate the filter, but that mismatch problem is the same whether or not you used a Coral too.

     

    People use 85/Pola combo filters all the time for tungsten stocks, so using a Coral and Pola should be fine.

     

    Thanks a lot!!!

  12. Hi there,

    I've posted a simmilar topic a few days ago "Warming Filters".

    I just had one more question about combining a coral filter with a polarizer.

    Will the polarizer change the effect the coral filter would have on it's own.

    The polarizer will enhance colors on it's own, will it look "weired" slapping a warming filter over a polarizer?

    I do understand how each filter works on its own, just not to sure about combining both.

    If anyone has any experience or thoughts on that, please let me know.

    Thanks a lot,

    Rob

  13. Hello Robert,

     

    I was "loader" (well P2Cards) on a video clip, we were shooting with a HVX200 + PS Technik 35 Mini Converter mounted with Cooke S4's (T:2). Our DP approximated the sensibility of the whole system of around 64 ISO fully open (Recording mode 720pN, cine-like gamma, shutter 1/50, 0dB).

    The DP first choice was the Zeiss SuperSpeed (T1.4) but unfortunately the set wasn't available for the shooting... Sure this extra stop would have been welcomed!

     

    I hope this helps.

     

    Eden.

     

    So I guess you would loose around 2, or 2.5 Stops.

    Thanks a lot,

    Rob

  14. Hi there,

     

    I will be shooting a Short next month on a Sony Z-1 with the P+S 35Mini Converter.

    I was just wondering if anyone has shot with this particular converter befor?

    Are there any things I have to look out for, like loss of light?

    I was also concidering using a movie tube, could anyone explane the difference between those two converters?

    Thanks a lot,

    Rob

  15. If you are going to use the Coral filters, in order to really know the color they create, then you should do the opposite of what I said and shoot the grey scale with no Coral filter so the colorist can balance for that, so when the filtered shot comes up after that, you know exactly what shade and strength that filter is. So at least for future shoots, you can say "well, that Coral #1 was too heavy afterall."

     

    Because if the first thing that comes up in the telecine session is a Coral-filtered shot, the colorist is immediately going to be fiddling with it, asking you if this was the way it was supposed to look -- you'll have no neutral frame of reference.

     

    Many thanks for all your advice,

    There would only be one last thing to ask.

    When shooting the grey scale, should I also take the polarizer of with the coral?

    As I understand it, I should always shoot the grey scale clear!?!

  16. Hi, I´m not sure if this is the right section to write this. If it isn´'t, please move it!!!

    I´m a student from Madrid and I have come to the conclusion that colour grad?? , I mean the "colour correction" after shooting with the computer, is the second tool of a DP, it´s essential The first tool is during the shooting: camera and lighting works. What do you think?

     

    So I would like that somenone says me wich computer programs are better for color grading?

    Does anybody knows the program called " color" from the new Final Cut Studio 2? Is it works good?

    Thank you people.

    Alberto .

     

    I believe that a photographer should be bale to creat his own look as much as he can without going into grading.

    I found the grading options in final cut better than avid. i personal use final cut hd, but i've heard good things about final cut studio 2 (color).

  17. The grey scale is not really a lab issue (unless you are making a workprint) -- it doesn't have anything to do with processing -- it's a way of communicating to the colorist if you won't be there to supervise. If the gey scale is shot with a light blue filter, then when it comes up, the colorist will balance the signal so that the grey looks grey -- but then the following scene without the blue filter looks warm as a result.

     

    So usually I follow-up the grey scale with a sign that says "COLOR: LIGHT WARM GOLDEN TONE" or something to that effect, as a double-reminder that the scene is supposed to look warm.

     

    It works for making a workprint too, in terms of telling the timer to time the roll for the greyscale.

     

    Now none of this is necessarily if you will be there at the telecine session.

     

    Usually I use an 82B filter I think, sort of the blue equivalent of an 81EF.

     

    I will be there for the telecine session. My only concern is that I would like to get as close to the look I want without using the help of the colorist to much. Since I am still learning I would like to experiment a bit. My prof adviced me to just shoot everything clear and than do the rest in post. I don't really agree with him. I think it should be the job of the photographer to achive his own look without to much grading.

    i might just go ahead and try the coral. maybe just a light one, and if I have to warm it up more, do it in post.

    Again,

    Thank you very much for your help.

  18. I got warm dailies for "Akeelah and the Bee", "Astronaut Farmer" and "Solstice" by using a light blue filter on the camera for the grey scales, then pulled it for the scenes - and got back dailies that looked like I had used a 1/2 Coral or 81EF.

     

    If the Coral was the only filter, I might be inclined to use it, but I hate stacking glass if I don't have to -- if there were any chance of double-reflection problems from the Pola being stacked with the Coral, or if you also needed another filter on occasion, like diffusion, plus the Pola, I'd probably drop the Coral.

     

    Now odder colors like Chocolate or Sepia or Tobacco or Antique Suede, I may be more tempted to use the filter because it can be harder to describe the shade to a colorist for dailies.

     

    So you would recommend using a light blue over the lense when shooting the grey scale. Does it matter witch lab I give it to? Should I let the lab know what I did and tell them to correct it for the blue filter, or shouldn't I say anything and just let them go ahead and correct it by themself?

    I am pretty sure I won't use any diffusion. Might have to throw a ND in on occasion though. So you would recommend not to stack to many filters because of reflections and flare?

    Thanks a lot for your advice.

    Rob

  19. I will be using 250 D for exteriors, and 500 T for interiors.

     

    Is it a good filter to warm up a scene? I don't know, you tell me! Try it out and see if it works with your project. There's nothing wrong with shooting it correctly and warming in post though, you might wanna consider it for safety sake.

     

    And so long as you're aware that you'll probably have to open up about 2 stops for the polarizer, I think it's be an interesting look with the two combined. But again, you might just wanna leave the coral filter off and shoot with the polarizer to preserve the full color range for correcting in post.

     

    I was thinking of leaving the coral of. But since I am still in film school i would like to experiment a bit. Don't know when I will be shooting on film again, so I would like to be in controll of the look and don't leave it to the colorist.

    Thanks a lot,

    Rob

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