Jump to content

J. Søren Viuf

Basic Member
  • Content Count

    35
  • Joined

  • Last visited

Community Reputation

0 Neutral

About J. Søren Viuf

  • Rank

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA
  • Specialties
    Martial Arts, Filmmaking, Cars/Driving, Ultimate Frisbee

Contact Methods

  • Website URL
    http://www.jsv-dp.com
  1. I've always heard that any time of day is okay, as long as there is a hard sunlight creating shadows. (not overcast)
  2. Is there a way to achieve said "gross" flicker? A way to cheat it even?
  3. What are some ways to achieve flickering Flourescents, short of unscrewing them halfway, which doesn't even work that well? Is it possible to do in anyway with Kinos? I know you can do it in camera with shutter angle changes, but I 't want to do it directly on the unit. I'm guessing there might be a MagicGadget box or a Lightning Strikes thingamajig?
  4. Unfortunately, I am in LA, and the production is trying to find a gaffer still : :unsure: So I have yet to speak with him or her, sadly. Anyways, what do you mean by Joker unit? Those are smaller HMI's yes? Also, what types of stands are those that you used, Matt? Do you recommend them? If not, what types of stands should I go with for 12Ks? Thirdly, do y'all find the Arri lights to have more punch than Mole for equivalent wattage?
  5. Can't quite tell from the pics: What exactly is a Menace Arm used for?
  6. My two cents: Having shot some time-lapse on the Red, the settings I found to be smooth and still have a noticeable "lapse" was 1 frame every 4 seconds. It was quite nice and viewable without any speed modification. However, if you want, it's probably better just to shoot, say, 1 fps and then speed it up in post.
  7. I'm still waiting for some wise soul to share the optimal conditions for DFN...
  8. Andrew (and everybody else), Thank you, and I'm sorry I haven't had the time to put more specifics until now (on set, of course). Anyways, here's what I'm lookin' at: Super 35mm Kodak 5260 (possibly underexposed and pushed one stop) Day Exteriors in NYC in December (not much direct sunlight) The project is a street-life story about young, sexually-aware Hispanic girls who use their sexuality to manipulate and rob an older shop owner. Mostly handheld, floating camera, something along the lines of 21 Grams or Babel. (Side question: anybody know the stocks/processing used for those?) The principles of lighting I'm aware of, it's just of a scale that I've never directly managed or pre-vis'ed. As you can imagine, I didn't want to show up completely unawares of what lie before me or be unable to communicate to my crew effectively and professionally. So perhaps, what I was wondering is, although I've ACed, but never DPed or gaffed a show with lights that big, is how much would those come in handy during a day shoot? In other words, would they produce a noticable punch during the day? I imagine it must. I am looking to create a hard sun backlight, but since it's December in the city, I wanted to recreate it. Would 1 18K do the trick, or should I just get a smaller unit for speed and flexibility? Alternatively, if a SoftSun is within the budget, would that be better? Right now, I'm concerned about my crew being too small. If so, should I scrap the big units and instead go for a MaxiBrute or 10K Par or what would you recommend? Thanks so much for your help. J. Soren Viuf www.jsv-dp.com
  9. Hey All, Just found out about 5260. Has anybody tried pushing/pulling it yet? Would love to see some grabs. On a more general note, is there any decent online resource (or previous topic) that gives examples/grabs of various stocks being pushed/pulled? On an ever more general note, what do y'all find the best combination of exposure and pushing to be? J. Soren Viuf www.jsv-dp.com
  10. Hey all, So I am shooting my first short with the option of using big units, like 18Ks on condors, etc... Anyways, I wanted to know how much they would play during day exteriors, and, for night exteriors, what are some concerns/issues that I should be aware of? i.e. distance from subject, is it necessary to use half-scrims or flag off walls? Sorry for the vagueness, but any advice, past experiences would be helpful. Also, we're shooting in NYC in December, so we won't be getting too too much direct sunlight. J. Soren Viuf www.jsv-dp.com
  11. I have a question regarding the colors of the DVD case. http://www.stuff.co.nz/images/711926.jpg It seems to have a deep blue sky then graduates to a sepia in the lower sky and into the wheat fields with a mild vignette. Have tried (unsuccessfully) to replicate it in photoshop, but am wondering if it was done in camera or in post. Also, any ideas what the names of those colors might be? Obviously, it's not one single color, but an approximation would be helpful, just to get an idea.... I really like the effect, but could use some help in achieving it. I've also noticed that these darker, bolder colors are being used a lot recently in advertisements and covers (new fad apparently) Thanks J. Soren Viuf www.jsviuf.com
  12. Yeah, I just think of the t-stop as an "effective" F-stop. Meaning, the t-stop is what you are effectively getting through the lens. JSV
  13. Yes, to conclude the suspense that you all were no doutb living through, I did check out the camera in more detail, and I investigated the timing of the shutter in relation to the registration pin/pulldown claw mechanism (using the inching knob to visually examine), and it seemed to be in perfect sync. Needless to say, I was still a bit worried, because it obviously needs perfect precision. Anyways, the tests I ran quelled my fears. Thank you to all who gave advice! J Soren Viuf
  14. I don't know for a fact, but I would wager that it was shot on video. like, handycam. it looked like turds in parts
  15. http://www.jsviuf.com/reel.html
×
×
  • Create New...