Andre Szankowski AIP

Hi Rob! That's the first things we tought of , but when a shot the tests afterwards , i did - connected trough dimmer but at 100% then +/- 50% and without dimmer. I realize that using small lamps for that wasn't the best idea but I have shot with praticals before at that speed and it didn't happend... Than all of you for contribuiting to my question!

Thanks Jamey! I´ll do that! All the best!

Thank you Stephen!

Hi Matt, i know you can get flicker with high speed, but i always heard like 2000 frames and so on... My practicals where 200w lamps ( dimmerd ) and a few 45w on the first set, just above the girls hand. I also had some kinos flickering, but that can happen if the ballsts are malfunctioning... The rest was Par 64 Cans, 650w Fresnels and tree 4Kw Tungsten Helium Ballons... We excluded camera problems as it would have afected the whole image. The next day I asked a gaffer friend to order me a flicker meter...

Well Kieran, that's the only explanation we got so far actually, cinematographer friend of mine, found out that there are some new kind of tungsten filaments that cool off faster to help with the lamps life,or lamps that are over charged to get a brighter light. if that is so, at high speeds maybe we can see the fillament fading... that's the best we have so far.. anyway, from now on i'll deal with small filament tungsten lamps just like HMI's...

Hi! When a camera is sync tested at 25fps , does it mean it will be stable at 150fps? I posted a "tungsten flicker" in general discussion, trying to figure out what happend... All the best! Andre CUT__1__okCD_Sorensen_2.35_low.mov

Hi Kieran! The mpeg hides it a bit, the smaller the lamp the more it had, they would actually look they were turning on and off... Thanks! Andre

if you are really stressed with this situation, because you didn't have time to test it , just say you don't have enough light with two kino fluos to shoot at 45 degrees, it will not match the previous material anyway, not only the difference with the material available to you, but also, because you didn't prepare it, scouted it(i'm assuming) and you're not in your friends head to think about the lighting the same way he did. Just propose to do the best you can, with what you have, i mean, a hip hop music video does have room for different looks. All the best!

Hi Christophe, you won't have any problems shooting 45 degrees with kino fluos. 180, 90 , 45 degrees are safe angles for Kino Fluos. You only get Kino problems at higher camera speeds and if the ballast is malfunctioning. Good luck! Andre

Has anyone ever had any problems with tungsten lights flickering at 150Fps, 180º ? Everything I had under 1Kw flickered on this comercial . I saw my life flashing before my eyes when I saw the rushes, hopefully post production managed to remove most of it. I've talked to lots of others DPs, most of them much , much more experienced than me, and everyones reaction was "What!? That's not possible!" After the shoot, we re-tested the camera with the same lights we used, in the same conditions, with dimmer, without dimmers and plugged to the genny ( as we had on the shoot ) and company electricity. The all flickered at 150 Fps... Can anyone help? ( this is just the off line + 1 light tk ) you can check the finalized film at http://web.mac.com/aszankowski1 All the best! Andre CUT__1__okCD_Sorensen_2.35_low.mov

Hi everyone! I've updated my website, recompressed all the mpegs using the H 264 codec, its not finished yet. I made the choice of making the mpegs 640x480 , is it too big? does it take too long? All the best!!! André http//web.mac.com/aszankowski1

Hi Marcel! I just saw 9 songs the other day! Great lighting! Actually a director gave it to me as a reference some time ago! Like the comercials also! All the best!André

We're not trying to own the rights, only to be considered co-authors of the feature. Like the director , scriptwrighter or even the musician. I know a lot of departements are involved in the final image ( art direction, Wardrobe etc...) DPs don't "own" the final image since is a team work. But you do influence the mood, framing, blocking, or else, the "feel" of the whole thing, you do create a second subconsious caracter, so you are also a storyteller, in your own particular way. That's what we are lookin for. All the best! Andre

Thank you very much Jésus! Fells always great when someone likes our work! All the best! Andre

Hi there! Thanks a lot! I normally underexpose 1 stop for 100% bleach by pass, I'll put 200asa in my lightmeter if i'm using 100asa stock and get my light readings normally. Some DPs won't do that, they'll expose normally and then underexpose on telecine or when printing, depends on what you're looking for, or just how you like to work your negative. I beleive color timers prefer to underexpose or "correct" the bleach in the lab when printing. But, I prefered to bleach by pass the previous negatives series ( EXR,Vision ), the effect was better (ex: Super bock Green "Anjos" 100% BBP - Kodak 320T, "Cais" 100% Bbp- Kodak 100T -7248, "Bes 360º" Kodak 5248 50% BBP+Chocolat 1 + Straw 1, "Sapo King" Fuji 125T + Positive Copy with 100% BBP). Here in Portugal you can only get the Vision 2 nowdays ( or Fuji , witch I use very often) And I don't like them that much for bleach by passing, pushing or pulling. As for the site it was made in iWeb, but have to fix some things...