J. Scott Portingale

The lenses are sharp, a little like UltraPrimes. Personally I prefer Cooke over Zeiss, you need to test and see if you like them, they do the job perfectly well & they are not very expensive to buy. I am testing some again soon.

Thanks, I try to pull some tests off. I thought they may be sharp seeing as how they were designed for HD. I'll be using them in Canada in January. I hope they handle cold well.

Don't use the 18mm, it will hit the shutter.

What are your thoughts about the images compared to cookes or maser primes?

Hello all,

Just wondering if anyone has shot 35mm film with the new RED lenses. What were your results like? How does it preform wide open (1.8)? I have access to a complete set of RED primes and a ARRI 3 camera. If anyone knows the results of any decent tests that are online a link would be greatly appreciated.

Thanks.

-Scott

I would like to expose a LCD screen on 16mm B+W reversal film. How do you go about metering something like that? I will bracket a stop up and a stop down, but where do I start?

I have starting to shoot RAW with a digital SLR when I shoot time-lapse, and have encountered a problem in post.

I edit the RAW media (crop, color, exposure, ect…) in Lightroom2, and export to jpeg in a separate folder. The jpegs reflect all my edits, but as soon as I assemble them in Quicktime Pro, or Final Cut. I loose a lot of the vibrancy of the colors. I'm shooting in RAW so I have more versatility in editing, but something goes wrong when I assemble the jpegs. Anyone else experience this problem? What software do you use to assemble the photos?

I have attached a screen photograph of what the two color representations look like.

The shot on the left is what the assembly looks like (Quick Time application). The shot on the right is what the original edited photograph looks like (Preview application).

A friend of mine owns a photosonic that shoots 1000fps. It was previously used in the military, and for automotive crash test scenarios.

Thanks for the info I'll find a 10k after testing it useing the sun.

It's funny you mentioned Kevin, because we just had a message exchange a few hours ago in the visual effects forum pertaining to frame rate/shutter angle exposure relationships. He used large tungsten lights for his slow-mo work which I don't have access to on my budget. I do have access to HMIS (on a discount), but I'm not sure how they will work at frame rates over 1000fps. I think I'll start sourcing out 5ks and 10ks and pay the extra. I don't want to risk having poor results.

Thanks for that. It was very informative. I will print that off, and add it to my production notes.

Thanks again!

I'm an independent filmmaker that wants to shoot slow-motion on film (most likely 16mm 1000-2000 fps) in a studio environment, and was wondering what is the best, and the most economical lighting source would be to avoid flicker. Kino flows?

Thanks Kevin.

Your reel was impressive. I loved the slow motion! I always imagined that you would have to change the shutter angle to achieve sharp edges for filmming anything in motion.

What kind of lighting do you use for slow motion?

OK I just found this data, but it relates to 24fps.

what about 96fps or 150fps?

Is there a downlodable table out there I can refer to?

SLS 4 = 1440 degrees (try doing that with a film camera!)

SLS 2 = 720 degrees

1/24 = 360 degrees

1/48 = 180 degrees

1/96 = 90 degrees

1/192 = 45 degrees

1/384 = 22.5 degrees

1/768 = 11.25 degrees

I am fairly new to experimental cinematography, and I was wondering if there were any links to videos of slow motion in tandem with acute shutter angles that would also give technical details stating what angle they used, and what frame rate they shot. I am trying to figure out what angle I should shoot before rolling film through a camera at fast speeds. I will most likely shoot as fast as the camera will let me, but the angle still confuses me.

Actually here's a better question... What is 10degrees equivalent to in seconds? 1/250? 1/500?

ie: knife through head of lettuce (96fps) beads of water with clear tack sharp edges.

I am shooting V3 500t 16mm inside a house during the day. How many cto gels (1/4,1/2) should i use on the windows to balance the light on a sunny day? cloudy day? Is there a rule of thumb that applies?

We just bought a red cam. What accessories are worth purchasing, and which arn't? Are there cheaper third party options?

I work for a Non-profit filmmaking society and we just purchased a set of prime lenses for our Arri 3. What is the procedure of testing lenses and the camera. Is there a link out there that outlines the step by step procedure??? I am savy on the camera, but I don't know how to test properly.

I am looking for a used 35mm high speed Carl Zeiss lens kit preferably with PL mounts. They are hard to find so if you don't know of one for sale could you please point me in the right direction?

It was chatting with you. I will re-post with specifics.

I would like to talk to you as soon as possible. Could you send me your contact info to (jsportingale@hotmail.com) and c.c Dave Morgan (production@fava.ca).

thanks,

Scott

I am searching for a set of used high speed Carl Zeiss lenses. Can anyone point me in the right direction?

thanks for the tips. I'll give it a try

I am lighting a puppet style character in front of a green screen. I heard from somebody that I needed a special gel to back-light the character to avoid the fake green screen look. Is this true? If so what is the gel called? Should the strength of the back-light be a stop higher or lower then the key light/s?

There is a toggle switch on and old 35 arri that says "cont", or "var". which should I shoot to acheive 24fps? The motor sounds a lot faster on var.???

Thank you for your advice. I am working with a colourist in post. I will try exactly what you recommended.

I am shooting a scene that occurs in a darkroom on colour neg 500T and I want to expose it with an amber safe light look whilst exposing for the light source from the enlarger. My plan is to light the entire room with one diffused gelled light source and fill certain objects with gelled 150s. What gel should I use? Is there another and possibly an easier, or better way?

I am shooting my next film with a mixture of super 16mm film and Hd animation in 16:9. Are they the same in aspect ratio or will I have to crop one or the other in post? If so which medium should I crop?