Thomas Buelens

Hi, I'm a Belgium based cinematographer and I'm shooting a music video this weekend with the brand new Sony HDC-3300 super slow motion camera. I'm going to shoot at 150fps progressive (is 180p possible too?) Does anybody have any experience with this camera? This is the workflow: -HDC-3300 to the HDCU3300 CCU via SMPTE standard optical fiber cable then to the XT HD6 LSM from EVS to a HD recording deck. I've never worked with a setup like this. The camera will be on the Super Technocrane 30. Will the crane operators have a delay effect or can the camera give an SD output also? Or via the LSM. I will we shooting with the pro35 with Zeiss Standard lenses. And the 16mm and 40mm Arri macro lenses. Any information or experience is always welcome!!! Thanx, Thomas Buelens Director Of Photography www.thomasbuelens.be info@thomasbuelens.be

Hi, I'm shooting a feature film on the Varicam and I was wondering what the best setting is and what's the exact difference between 720tv and 630tv Vertical dtl. freq.? Thanx, Thomas Buelens www.thomasbuelens.be

Hi, I'm going to shoot a HD shortfilm but I am still thinking about the ratio. How can I adjust the viewfinder box to 2,35:1 on the Varicam? Thanx.

Hi, has anybody shot on the Carl Zeiss Standard (T2.1) and/or the Super Cooke's (T2.3) lenses with the Pro 35 on the Varicam? Any remarks? Good/bad?... Please tell me your findings. Thanx.

I posted this in the cinealta section. So its for the F900. I hope you can help me

Hi, I'm going to shoot a HD shortfilm but I am still thinking about the ratio. How can I adjust the viewfinder box to 2,35:1? Thanx.

Hi, i guess that all of us think about this once in a while, now I do and I would like to know what you think ! It's a fact that the DOP works for a director in the sence that he makes his vision become reality. He decides over the lighting, but how much does he have to say about the framing?! Choices of camera position, lenses and camera movement. Does a DOP also have a final say about this or is this totaly the job of the director. I know that we always work together with directors, but how much are we boss of our photography?

You can, I shot a shortfilm on Varicam. With the aid of www.alfacam.com. The biggest HD facility in Europe.

Does anybody knows what stocks he used??? Thanx

Hi, I'm a big fan of documentaries from the BBC and I'm wondering if someone's knows how in earth they make such stunning footage. I've been watching and observing their images for years know, and they keep impressing me ! Especially the docu's on the BBC programme: HORIZON. But also a programme about cars (not a docu), called TOP GEAR, the little clips they make for a car they are reviewing are always so damn cool! I think the cinematographers the BBC work with, have a patended lighting skill :) , because I've never seen interviews so amazingly lit and shot before than on the BBC. This is what I think that they use a lot: * They have a CCU on site, and go deep in the blacks * They work with pola's and ND GRAD's a lot on exteriors I also noticed 1 bizare thing over the years I've been watching them. They tend to use a sort of MASK over their shots that looks like vignetting !!! This works really well. It points your eye directly to the subject. First I though it was a kind of vingnetting because of filters on wide angle lensen or something, but I have second thoughts about that. I think it's done in post. Final Cut Pro has a function like this, I forgot the name, but I discovered it recently. Not that the BBC edits on Final Cut Pro :D I'm going to shoot a documentary in Europe on HD, the producer wanted to shoot a teaser first to get more money from sponsors. So we did, and I shot these images. It looks a little like the images they make @ the BBC, let me know if you have answers to my questions and what you think of my footage. NOTE: The teaser was shot on DVCAM. Thanx, Thomas Buelens @ Antwerp City, Belgium Aciné Productions

Hi fellow cinematographers, a lot of you have probably seen Black Hawk Down. I think it's an awsome shot movie. Does anybody have some info about it? How it was lit, camera's and lenses used? I'm certain A LOT of the footage went trough a DI, and that has probably helped make it look so cool?! Thanx for sharing, Thomas Buelens @ Antwerp City, Belgium Aciné Productions

Hi fellow cinematographers, I'm doing a shortfilm about three dudes who robe a nightshop. At a certain point in the story the climax is reached when one of the guys step into the nightshop. I tend to travel begin the shot in 25fps and travel in, while going in slow-motion (125fps). I wonderd if it would be better if I would just stay in the 125fps and speed up the beginnig in post, so the problems I will have with the lighting wild be fixed??? I shooting that scene on the Vision 500T 5218 stock. If I do it ramping wise from 25fps, it will be a pain in the ass for these reasons right?: -my camera-ass.: -focus puller starts @ maby, f 8.0 and goes to f 2.0 -iris must be opend while ramping from f 8.0 to f 2.0 -ramping remote from 25 fps to 125fps Please, tell me my solution will work? I know the effect in the speed-up will be kind of sharper because filmed in 125 fps, but that's ok, because their focused on what they are doing, until they see something that tey didn't expect...that's where the slow-motion kicks in ! Thanx. Thomas from Antwerp, Belgium.