Dory Breaux DP

Very nice work Greg! Will definitely use and credit!!

Searched, cant find an answer. Is it possible to remove the loop formers without taking the camera apart? The last time I tried to disassemble a K3, it ended up in the morgue. Id rather like to avoid that this time around.

Thanks!

Dory

The flicker is most likely becasue of the shutter speed (or angle, not sure on that) and the lights freaquency not being matched. At least, that what it looks like to me, but I am far from an expert.

Really cool tho man! Some of the shots of the riders goofing off got a little tedious but other then that it was sick!

I'm wondering if the M42 to Nikon adapters will allow me to effectively use Nikon lenses on a K3. I know the mounts have been converted but will it work with an adapter?

Thanks,

Dory

Hey I just watched this again, and I thought I'd tell you again how sick those outdoors shots were. Really well done, and you even got a pretty subject too! Snow and girls YAY!

Nice job man!

Hey all, I was wondering if it is in any way possible to convert the PL mount on any of the SR series to a Nikon mount (the current one, I think its the F mount) and how costly it would be. I have 5 really nice Nikon lenses that I use for still photography and just wondered if it was possible.

Thanks,

Dory

sent you a PM! :D

It seems like if you know what the diferance looks like, you'll find it. But, if you dont know what the diferance is, then you wont be able to tell. Thats just how it is for me tho.

Friggin awesome man! Makes me want a red! Were the exteriors actually shot at night or did they go thru a day to night?

Pretty cool dude! Nice cinematography and pretty well put together too! One spot I saw something that is a big no no on one of those shots of the guys climbing up a snowy rock face is it looked like your crane/cam rig hit a tree and noked some snow off of it >.<

still great reel. i watched it while listening to "He's a Pirate" from POTC and it was great :-P.

Looked pretty jumpy, but other then that not half bad man!

Of the few lenses have used it seems that they all have a "sweet spot", although my DVX lens and then lens on my moms EOS20d (canon SLR) seem to perform pretty well when all the way open, but when there shut down all the way it looks like poo, especially my DVX (SD tho, what you expect?).

My experience with the DVX is that it is best to get as much color and dynamic range out of it as possible if you want to CC in post. But you want to keep it as realistic looking as possible. What I've been doing is ramping my chroma level up as high as it will go, using the cinelike_D gama curve and cinelike color matrix and leaving everything else at 0. then in post i can desaturate it a bit, and there is plenty of color to work with without worrying too much about the bad compression.

oh man, that was beautiful! Especially the wide dolly shot with the bay, mountains nd clouds in the HDV reel. WOW!

didnt like the editing or the music, didnt flow right, but the cinematography was defenetly good dude.

still havent watched the whole thing, but the trailer looks really nice dude. funny too. let me guess, DVX100 shot in squeeze then croped to 2.39?

I liked it, slick editing. The first 10 or so seconds didnt do much for me but after the dude got out of the car it got way legit. Loved those two shots of the bridge.

Muzzleplug from FX Home does a really good job if you tweek it a bit. But i think the sound is what really sells it.

Does anyone know, or have seen the effect where the screen looks like multi-color flames that are really bright fill up the screen, then as the disappear the new scene appears? I've included a music video link below, you can see the cool effect multiple times throughout the video. Starting at :16 and :24 in.

 

http://music.aol.com/video/dont-blink/kenny-chesney/1960750

 

Any ideas?

Its a film burn/light leak. its what happens when you expose film to the sunlight, and it cont be reproduced in-camera with video, so it must be done in post. I am not aware of any filters or pre-made effects, but there's plenty of stock footage that can buy used with the proper transparency and keying. Shoot me an email at skibikefilm (at) gmail (dot) com and I'll try and send you some that I have.

Overall it was a nice shoot. While it may not appeal to people outside of the trail riding demographic, I think it would go over well with fellow enthusiasts.

Oh boy did it ever. I haven't had one bad comment on it yet. Alot of people who aren't into MTB loved it too.

Thanks for your ideas tho, will definitely take them into consideration! :ph34r:

As has been stated farther up in the thread, shoot film if you can. It'll be gone someday. I suppose I'll enjoy not stressing from when the can's closed to when the transfer is done. But I'll also miss that stress, in a sick way. Not knowing exactly what you have right away adds something to the process, I think. Basically, film is really f***ing cool. Digi will take over, and maybe it's the solution for lots of people now, but it is a bit like McDonalds, Walmart, and Sony. Large corporations that invade culture, and redefine it to make their fortunes. If making films is art, then maybe we should choose our tools to reflect our art. For a while anyway.

Nailed it.

I'd also not compare HVX video to Super16 film results. S16 is a far superior medium. It uses real lenses and records far more overall information than consumer grade 1/3" chip HD devices, which is what the HVX is. You also have more DOF options, lens options and far more latitude.

 

One idea is to buy a simple wind-up 16mm camera like a Russian model for $250 to practice and hone with. Rent an SR2 or Aaton LTR54/XTR for your feature. You simply won't find a practical, feature ready S16 camera package for less than around $15,000. Rentals can be fairly cheap if you look around.

Not to be a Panasonic Whore (even though I am one), but that's not totally true. The HVX is far more then a "consumer grade 1/3' chip HD device". Yes, it "only" has 1/3 inch chips, however, please tell me how a camera that can capture 1080p24pA with a color space of 4:2:2 is "consumer" level? Prosumer, yes, more likely. Also, the fact that it can shoot multiple frame rates (granted, in 720p mode) that are not the regular 60p, 30p and 24p alone almost makes it professional. Yes, the DOF is deeper from 16mm, but that is not because of the size of the chips, or the fact that is a smaller camera. I do assume that you know that smaller chips is only relative to the field of view, not depth of field. This does link DOF to chip size, but in no way is it dependent on it. The best thing about the HVX (or any other mid to hi end HD camera) is that once you buy it and the P2/SxS (HVX/EX1), you dont have to spend a penny more, because the media is reusable. Granted, you could get into the 20k+ range with tripods, matteboxes, filter sets, 35 adapters and lenses, blah dee blah dee blah, but still, you have the potential to get a picture that is good enough with a budget that is only as much as a SR3 could cost for just a base package. When I say good enough, I am taking into account that SD is still the most standard medium of distribution (in the US at least), and even when something will look better in SD if it originated in a high resolution medium, when you factor costs, who is going to be watching your end product on what, the average budget of a small scale inde production is etc, it almost always makes more sens to shoot HD and let a good color grading artist do the fine tweeks. And, in reality, the average joe is not going to see the difference between well shot, lit and graded HD and 16mm. Now, THAT BEING SAID! I, HATE all digital formats (with the exception of REDCODE or RAW) with a passion. They are evil. Unfortunately, I can not afford to shoot film, because I am poor and have very little income, as well as being a high school student. I fully agree with you that nothing is like film, and that if you have the budget and experience there is no reason to shoot HD or anything but film (unless your on a SUPER tight schedule), but really, the point I am trying to make is that the picture from an HVX will fool 90 percent of the people who see it on most TVs into thinking it was shot on film, if it is lit properly. But who am I to talk, I shoot everything on a DVX100B and sometimes uprez for final output. Does it look like film? well, yeah, on an SD TV.

Wow, i didn't know I could rant like that...

Nobody?

Why do some filmmakers feel the need to own everything they use? Even if a Matthews or American style dolly was mass produced and mass marketed, why own something that isn't going to used every day? Consider the space it takes up, the weight and then there is the track...you arent going to support a 16mm camera and operator on track made from 1/2" EMT. Rent it, use it, return it.

Note that i payed zero dollars for this rig.

Google might have an idea.