Charlie Wuppermann

Thanks guys. Much appreciated!

Hey there, i am researching the best way to light hair since I am shooting a couple of shots for a shampoo spot and have never quite been happy with my results before. I have quite a few ideas but am just wondering if anyone has any secrets and tips he would like to share? It is a HD shoot with the Sony F900 and DigiPrimes, in a studio with a lot of white surfaces around. So far I am planning to use a lot of big soft sources, even very soft backlights and am planning to use a lot of the "reflective" quality of the hair. One of the models has brown and the other one red hair. Any tips and ideas are much appreciated since I would love to experiment :) Thanks a lot! Charlie

thank you very much for your time and effort!

hey austin, thanks for your replies. you were right, what I am looking for is references for 18 and 12 fps. I know the effect of sstep printing (or doing it in telecine) and I even used it before but only in the extreme version of 6 fps. I also know that there is a lot of further things that can be done like actors moving faster and slower, etc. BUT I was asking for references since I am shooting something at the end of this week, it is a very short piece and there is no money and time for testing, so that I was looking for something to show my director what I mean. The shoot itself could then become the perfect test .... I don't think the effect will be very visible anyway, especially with 18 fps. But as you said, there are some films who used it, but one can never be sure what the framerate was excately. any further ideas for films? thanks again! charlie

hello, i was wondering if anyone knows a couple of films I could look at as a reference which were shot and scanned at 18 or 12 fps? I know that this technique gives a motion blur (especially if you shoot 8 or 6 fps), but I was wondering if and how much the less excessive use of this tecnique shows and what it feels like. thank you! charlie

hello there. i just had an idea and can't get my head around what would happen .... so what happens if I take an anamorphic lens and turn it around in the mount by 90 degree. i know that you have to change the mount on the back in order to do that, but that is possible (i checked with a camera technican). the question is what would happen to the image? would it be cropped? how much of the negative would you still be using? and would one have to get a new viewfinder which desquezes the image differently? any ideas much appreciated! thank you!

thank you guys. i will go and check out the different options at a rental place.

thank you

hello everyone, i am experimenting with applying some photograhpy techniques to film. one of these technniques is when a subject in a photograph is sharp but also has a motion blur tail behind it (i think it has been used to some nike adds). I think that this is achieved by using a long exposre and a flash towards the end of this exposure. For exapmple a half of a second exposure and a tenth of a second flash. Now I am wondering whether this can be applied to film and the moving image as well. I already tried to get motion blur by slowing down the camera and getting a TK done at the same speed (f.e. 8 fps and scan at 8 fps). For example: there is a person running through the frame in motion blur. that was easy to achieve but now I want the movement to become sharp and not blurred for while in the middle. I was thinking about different options. maybe using a flash that is in and out of synch with the shutter of the camera? Or maybe just cranking the camera speed up and down quickly? My brain starts flipping .... anybody any ideas? I guess I have to do some test, or better a lot of tests .... thank you.

Hello guys, I am trying to shoot something in which every frame is shot with the camera turned 90 degree to the side. the idea is to get a lot of vertical frames which will then be assembled to one picture in post production. A split screen kind of thing. We are going to shoot in 16 mm and I know that I could use for example an Arri geared head to get the camera in this angle. But I would like to have a better solution where the weight is more over the center (especially because I would prefer to use legs than a dolly). Any ideas on what to use or do I need a a special construction? Also I would like to know if anyone shot some footage like that and whether there might be a big problem with the magazine and the film on the take up side since the camera is always tilted (noise? scratches?). thank you very much! charlie