Arnaud M. St Martin de Veyran

Hi Guys ! It just have been released in France this week. I saw it and i hate the story. In fact, there is no story at all. It's just a mood movie and the DP did well at this game.B) I really loved the cinematography. This guy Gimenez put the audience in the movie only by the mood of the lighting. Also i think, i'm sorry to say that, he have big balls :P To lit a movie with darkness filling most of the frame and use tones as green and blue ; choose to no lit the eyes make me think about Road to Perdition... That's just the cinematography i love : Lighting as storytelling ! In this time of completely flat and overlight pictures as music video, tv show(french tv show) it make me feel better to see a DOP still in the old school way, using shadow and telling an story. BRAVO MR. GIMENEZ

Hi Guys ! It's been a long time that i did come on the forum. I'm going to shoot with the new Canon XL2 that seems pretty amazing :rolleyes: Better than DVX100 that i used to love so much. If anyone have ever shot with the XL2, let me know how you feel about it? Anyway, my question is about the lenses. In fact, we are going to shoot with 24X36 lenses (The Canon EF series). I would like to know how can i figure it out the equivalency (field of view) of the 35mm lenses in 24x36 lenses for the 1/3" sensor of the XL2? Do you know what i mean? For example, if i'm looking for the field of view of a 50mm lense on a 35mm film, wich 24x36 lense should i used to get almost the same field of view with the canon XL2? Another question : What about shooting 16/9 with the XL2? Is it real 16/9 means that the sensor record in 16/9 or is it a squeezed 16/9 ? Again, if anyone have notes about shooting with the XL2, let me know... Best Regards.

Guys, Thanks! It's still prettu confusing but i'll keep in my mind the last post.

Hi ! I already checked on the forum if they were any post about this subject. I found one that is more talking about the depht of field or maybe i don't understand anything :blink: Anyway, my question is about shooting 16mm with 35mm lenses. In fact, i'm used to use PCam on my palm pilot and i like to figure out wich field of view i'm gonna get with different lenses at different distances. So, i'm wondering wich angle or field of view should i use when i'm using a 35mm lense with a 16mm camera? Does my question make sense? :unsure:

Hi ! David, i have a question again : I was thinking about everything we said and i'm really sure that i'm gonna go for the 500T with an 85C. My question can seems stupid but i'm wondering how will look my photoflood inside? I mean, my film stock is balanced for 3200°K and the 85C is for going from 5600°K to 3800°K, right? So, if now my daylight color is back to 3800°K i know that my exterior will almost look like a tungsten light cover with an 1/4 CTB, still right? Now, my photoflood(3200°K) will look white if i don't dim them down or all the pictures inside will get the amber color of the filter 85C? I'm thinking of that because while you're using an 85 on a 250D stock you don't get the color correction of course, the filter act as a color effect filter...is it the same in that case? :blink: I mean, that using an 85C make now look white only the light around 3800°K or the caracteristic of the film is still the same, 3200°K? I'm a little bit lost but i'll say that 3200°K is still white and only the daylight spectrum is going to be "colder", affected by the filter. <_< Let me know. Thanks. :D

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It can be an idea. I have to say that for the moment i was concentrate on the color correction issue. Now i start to think about my level and my aperture thorough the shot. Thanks for everything.

Thanks again. I have some problem to figure it out about the story of the 85C. Now, i think i got it; a little bit colder outside than inside. By the way, i know i can save in telecine but i would really like to do the much as i can on the set. You never know with "no budget, independant production". I still know that it's gonna be hard for aperture change. I really hope to be overcast and get an 8 and 4, if i can, inside. For safety i'll get some 2Kw open face. Good night.

It's gonna be for telecine first and probably, it depends of the money, transfer on film. I was thinking after everything you said to play with the 500T stock, an 85 and a Straw to create a warm 70' effect. Also, using daylight "photoflood" inside on dimmer so they'll look a tiny bit warmer than outside.

Thanks again. First of all, about the exposure change : I measured the outside with a 250D stock and it's about 5,6 at this time of year in Paris. It means it'll be 8 with a 500T. So i'm planning to get a 8 outside and 2,8 or 4 if i can inside. I hope...is it too much exposure change? <_< I read your post Leon and i don't understand some parts of it. As David you suggest to half correct the color of the light and if i follow you're interesting idea i'm wondering how it could look? I mean, if i balance my inside with 5600K light and use a 500T stock with an 81EF or a 85C thoroughout the scene the color will be warm for the outdside as the inside, right? :huh: Also, if i'm bringing down the color temperature around 4000K or 3800K instead of being warm, it's not going to look greenich? Maybe you meant to color correct with an 85C or a 81EF and to add a Straw, Coral or 812? Have a nice day.

Thanks Guys. So quick !:rolleyes: I was already thinking to use a subtle cut but the main idea of the project is the master shot. Anyway, i was also thinking to convert my "pratical light" or "photoflood" to Daylight and use tungsten stock as 500T with an 85filter. But, as i said above, what's going to happen if i dim down the photoflood? Aren't they look greenich? Otherwise, if it works, i'm going for that solution... I'm aware about the iris "jump cut", if it make sense <_< I'm in france so i'll say Good Night for here.

Hi everybody ! I have a problem... :ph34r: I'm going to shoot a scene wich is a full steadicam shot going from outside a house to inside. It's a daylight scene. I'm wondering wich stock should i used? Tungsten or Daylight? :unsure: My plan is to shoot natural light for outside and use only photoflood inside. I was thinking to use a 500T with an 85 but what about my photofloods(5600K)? In fact, if i dim them down they're not going to look greenich or should i use 3200k photoflood? The other issue is that i'm going to use a straw filter(see preview on the link below) : http://www.bhphotovideo.com/bnh/controller...9689&is=REG If use this straw filter with tungsten photoflood dim down it's not going to look too much warm, orange? If someone can help me out, i'll appreciate. Have a nice day.

Thanks Guys! I was thinking to shoot on Kadak film stock. After everything you said, i think i'm gonna go for a 50D and a low contrast filter. We'll see for the last idea. I was thinking to use Straw filter for a warm touch and Blow out very hard the window. Basically, the shot is a master shot (steadicam shot) of 4min going from outside to inside. Most of the shot is inside. It's not so easy for me...challenge. Anyway, if you have any comment about this kind of shot... Thanks again.

Hi, I'm going to shoot a scene in S16mm with the a-minima. It's supposed to be in the 70's. I wondering if anyone have an idea about the look? I'd already shoot a movie as DP with a 70's part. That time, i used a Straw filter but does any have another idea? It's a very silly and subjective question but...

Hi Laurent.A, I was disapointed like you while i heard about i :o It's a really brillant idea, i agree with you...so simple. Another clue about this movie : It was shot in color and print on positive film dedicated for sound usually so the black and white of this movie is very different from a regular B&W. Anyway, are you French?

Hi, I'm French and for this particular shot, that is a reference to Scarface as said the Director, they used a standing that looks like the actor for the foreground...the real one is in front of the camera; so in fact there is no mirror. Does it make sense? I know it because they said it on french DVD.

Hey, I'm very young in the buiseness and brand new on the forum but from my little vision i'll say : Conrad L. Hall, Storaro, Darius Khonji, Gordon Willis, Henri Alekan and Nestor Almendros...but there is too many. I think it's like asking for the best director...

Ok thanks for the advice...i'm gonna yell after the lab, trust me !

Thanks ! Maybe it's because it was a straight telecinema (it's the way we call it in france). I mean without any first regular color correction because of money issue due to the production. Again a very short budget for a big independent short film. Best Regards

I didn't correct the pratical lighting sources...i cut all of them off and i set up a new lighting with Tungsten Light only.

Hi, I rode all the posts of this topic and if i understand well, some of you think that anybody can send a reel to agent and should try. So, for example i'm a very young DP and did many short films in 16mm, do you really think i can send my reel to any agency without being too much ?

Hi, I'm French and i'm leaving in Paris but i spent 8 months last year in NY. I'm going back to NY next week. Anyway, there is so much museum in NY that you have to see all of them. ;) There is one in Queens about Cinema. It's at the right place where there used to have the NY studios at the begining of the century. It's only 3 floor and not very nice, just funny to see while we are from the industry but the price is expensive. Only 1 or 2 hour will be fine to visit but the doors are not open so often. I don't remember where is it but if you are really interested just feel free to contact me email directly. Best regards and have a nice trip.

Hi, I shot this summer a short film with the Fuji 500T-8672 Film stock and i'm pretty surprised about the colors. In fact i shot only street night scene and i correct my sources with 1/4 CTO by the eye and some of them with 1/4 CTB. The thing is that on the dailies the skin tones look very magenta, too much while it's under CTO. The story is about a crime in a street so there is shots with blood and this blood under 1/4 CTB look too flashy, do you know what i mean? We tried to color correct everything on Avid Symphony but the magenta on the skin tones and the blood are still too much. We desaturated a lot and cut some red but still too much. Can someone tell me what happen? Is it my color correction on the set that brings that issues or the make up? Otherwise, i like the look pop and saturate of the Fuji stock. It was the first time i was shooting in Fuji. Best Regards

Hey, I just rode "Film Lighting" from Malkiewicz and it's a very good book ! I mean, i rode many books about cinematography and lighting in French(there is not so much of them) and everytime i was disapointed because too much theorical. This one, "Film Lighting" is more about the craft and tricks of some of the best DP's and gaffer in Hollywood. Old but still ok. Soon i'm gonna start "Painting with light". Enjoy your reading