Markus Lanxinger

Hey guys,

The company I am working for is selling multiple assets (Iconix Cameras, Fujinon Lenses, Assimilate Scratch Workstations and more). Please have a look at the attached PDF. If you are interested in one of the products or you have any questions regarding the products please PM me and I will get back to you ASAP.

List_of_Sellable_Assets.pdf

best regards

Markus Lanxinger

Anyone know of any alternatives to Minolta color meters? I can't find one anywhere, surely there is an alternative.

 

Dave

http://shop.technikdirekt.de/en/a-foto+fot...or+inkl.+Tasche

here is the site I found it on. It even has a picture of it.

For what it is worth I see Minolta Color temp meters on E Bay all the time.

 

Best

 

Tim

sekonic is coming out with a new color meter soon. You can find the model number on some internet shops already. Should be out within the next month.

cheers

markus

Having shot in the rain multiple times and even shot in fake rain while it was really raining ( "I want that rain from American beauty"), there are several things you can do.

 

1 get a large GFI Shockblock for the Generator.

2 get some swamp boxes ( I like using half milkcrates with rubber matting as a topper) to cover all distro boxes and get them off the ground.

3 put all cam and bates connections on apples and give them a visqueen cover.

4 make some rain hats out of Celotex

5 make some 2x3 open frames. I often just use what gel is on a frame instead of making ones with visqueen.

6 buy some storm socks. the best $30 I ever spent. that and a good rain suit.

7 keep a couple towels in your car for the end of the day with dry socks.

8 tungsten lights under 2k are OK uncovered unless it gets really nasty. Their heat dries them out faster than the rain.

9 BE SMART.

10 Cheap pop up tents are not designed for rain. rent the good ones.

thanks for all your advice guys. We ended up being lucky and only had to break for a 3 hour rain/storm period which we used for

lunch and getting some of our equipment organized and to get set up for an interior shot.

Hey guys,

I wasn't planning on it but it looks like that it's going to rain this weekend at our shooting location. As some of our scenes are night shots and thus require electrical lighting I wanted to ask you guys for your advice on what to look out for, how to protect the lights from rain, how to safely handle the power lines, camera, etc.

thanks

markus

Hey

 

Not really an EXT. but I'm shooting in an apartment in a few weeks. The apartment has a rather large window, but the way the director wants to block the scene the audience will never see it.

 

I chose 500 because we don't have access to a lot of power in the apartment (most of the circuits are 15amps). What I plan on doing is blacking out the windows so no unwanted blue comes in and using my tugsten sources for both day and night scenes.

 

I was thinking suggesting to the director that it might help us to frame by the window and use the natural daylight. My concern is once I drop the 85 (ASA 320) in, is 7218 too fast of a stock to shoot a scene that is primarily going to be lit by daylight?

you could of course also shoot without an 85 and use an LLD instead (no exposure compensation) and then have the telecine colorist grade it to your color chart.

Hey Brad, is there any site/list/place I can look that shows all the union pay scales for different positions? I'm really curious, and it sounds like you might know!

Entertainment Partners Paymaster lists pretty much every job in the industry with the minimum union pay.

cheers

markus

I think D.K also flashed his film stock using the panaflasher or in a lab, giving this particular hue to the shadows.

yes, he actually flashed the negative with 1/8 or 1/4 CTO or CTB according to the needs of the scene. Sometimes he just turned it off to get the full contrast.

does anyone know where I can rent a Arri Varicon in LA for a 16mm SR2 and for a decent price :-).

thanks

thanks for all your input so far. I am going to be shooting next Thursday.

I am going to upload some results when I get the footage telecined and have worked a bit on it in post.

cheers

markus

Hey Guys,

For one of my classes I had to select a scene out of a movie I like and try to match the lighting and camera style of the selected clip. A couple of movies later I settled down for Delicatessen, shot by Darius Khondji, specifically this scene here:

Now, I know that a lot of the look in delicatessen is achieved with art direction and production design. Nevertheless I wanna match the lighting and the look of the film as close as possible, without paying too much attention to the color of the furniture in the background. So I started to do some research on this forum and via google:

What it finally comes down to is that the film was shot on an emulsion that is no longer available. As David Mullen, ASC noted in a post, a lot of Khondji's approach is to take a low-contrast filmstock and then pushing it and applying the ENR process to the print. So I was surfing on Kodaks website a bit and settled on a similar filmstock (100T) 7212 (as I am going to be shooting 16), which has very fine grain and a very wide latitude. I am probably going to do a telecine transfer and nailing down the final look in Apple's Color because my school doesn't pay for an expensive ENR process. Should I attempt to push process to strech the contrast a bit before doing a telecine or should I all nail it down in post? I am probably going to be using Zeiss superspeeds lenses that open up to a T1.4. Depth of field in this scene isn't that great so they maybe settled for a 2 or 2.8.

Obviously this scene has a very warm look to it so I was thinking about using a 1/4 CTO on all the lights I am going to use in this scene and also apply camera filtration in form of an LLD or chocolate filter. As for the lighting in this scene the main lightsource seems to be coming from the windows which appears to be some sort of diffusion material (maybe bleach muslin) with a hard light source shining through it. As for her fill I was thinking of setting up a white card on a stand, which I can move in and out until I arrive at the right contrast ratio. For the guy is was thinking of employing a kino flo unit (tungsten) gelled with 1/4 cto - The ratio on his face seems to be lower than on her in this scene. As for the close-ups I am just gonna move in the bounce card and kino flo and I am maybe going to use a mini-flo on camera to give them a nice little eyelight. Now as I noticed on the table and the tea bowl, there are obviously some cores of lightsources that mirror. The might have employed another light on her instead of filling in with a white card. The tea bowl obviously has 2 shadows, one coming from the light through the window and one coming from off-screen camera left pretty much dead on.

Do you guys have any recommendations and thoughts about that scene and about my approach. Am I heading the right direction ...

thanks in advance for your help.

markus

Yes, about 1/2 stop of overexposure will save you grain. I wouldn't worry about pulling if I were you. It's more costly and has negligeable benefits. You really don't have the same control over film in cinematography as you do in still photography, since you don't have the ability to dodge and burn (except digitally, which isn't really as good), so pulling would only be useful in my case if I were to grossly overexpose footage mistakenly and wanted to minimize any halation or highlight blockup. My advice would be to shoot a few feet of tests.

 

Regards,

 

~KB

thanks for your advice. so what is the latitude that I have with that particular film stock. How far can I go over and under. As I understand it's pretty much only 1, 2 stops in each direction if I remember it right. I've only shot this stock once and it's been a while. Will there be anything 2 stops under pure black and 2 stops over pure white?

thanks

markus

Hey guys,

I am planning on shooting some 7266. Can I reduce some of the grain if I overexpose it and then pull it back down during processing? This is going to be shot on regular 16mm.

I was also wondering what kind of latitude this particular filmstock has. How does it handle shadows and highlights. How much can I go over and under?

thanks in advance.

cheers

markus

Hi all

 

I will buy either JVC HD100 or HVX200 + Redrock + Nikon lenses

 

I have seen the following footage:

 

http://www.redrockmicro.com/samples.html

 

1) Clip from "The Infinite Tree" (HVX200 + nikon lenses)

2)Clip from the Feature Film "Yesterday's Tomorrows"

 

The COLORS on the HVX200 are just fantastic

 

then I saw JVC HD100 footage

 

ftp://www.atomic-vfx.com/spoon_test_clips...DVR/web_006.wmv

 

the colors are just not there

 

MY QUESTION to you guys

 

Is HVX200 better to capture the colors, Is it possible to get great colors like that using the JVC HD100

 

Cheers

 

Neil Harris

 

Montreal Canada

Well, the JVC HD100 is HDV and recording on a DV/HDV tape with a compression ration of 15:1 while only working in a 4:1:1 colorspace.

On the other hand, the Panasonic HVX200 is recording on P2 cards with a DVCPRO HD compression of 5:1 and also maintaining a colorspace of 4:2:2.

that should explain why the color of the hvx200 look so much better than those of the hd100.

cheers