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Liam Dale

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Posts posted by Liam Dale

  1. Thanks, Scott.

     

    Could you recommend a capable 3d program I could track down without too much expense?

     

    -Liam

     

     

    I don't know offhand whether that kind of equation exists, although I wouldn't be surprised if it did. Try pre-vising this out in a 3d program- set up a scene with correct proportions and a camera with the correct film back and lens settings, and play with moving the camera and zooming in.

     

    The way you'd automate these things if you were shooting is with a motion control rig.

  2. I wondering if anyone can tell me if there is an equation for maintaining the relative size of a primary subject during a zoom dolly (For instance: Starting 10 feet from the subject on 100mm lens - a camera dolly of 8 feet over five seconds requires an 80mm zoom to maintain the relative subject size in the frame). What is the relationship between the two movements? Thought game - would it be possible to link dolly to zoom mechanically?

     

    -Liam

  3. I wonder if the difficulty that blu-ray faces has more to do with most people not having the proper equipment/knowledge about equipment rather than carrying one way or another about quality. I mean, I know more than one person who bought an HDTV, but doesn't even have it set up to actually watch anything in HD.

     

    It is probably true that most people just settle for "good enough", but I think that would be more true when looking at home entertainment then going out to see a show. You don't expect your home set-up to be as good as what you see when you go out. You pay for a movie to see it on a big screen in a better format then what you are capable of seeing otherwise. IMAX presents a format that can't be compared to by anything else and certainly showcases the beauty of film. Sure, HD video is eventually going to take over for 35mm as a capture medium, but large format film is still going to hold an edge over it.

  4. Thanks for the responses. I'll look into that year pass.

     

    If you need to be active, work with your hands, get dirty, or just be creative, than Paris is not your place. In my opinion, Paris today is an incredible place to study and critique (it's what the French do best). It's not a place to create(not right now anyways).

     

    Is there not a lot being made right now? Or, is the industry there more of a good ole boys club (like some have said about the UK) making it hard to break into?

     

    -Liam

  5. I may have an opportunity to spend some time in Paris in the coming year and am just curious about the state of the french film industry at the moment. Is there a general feeling of slowing down such as is expressed about the US industry in a few threads on this board? I've only been out of school for a little while and wouldn't even be going to Paris specifically with the goal of finding work, but I am wondering what sort of projects are currently getting made and what the community is like. For instance, I imagine there are a fair share of theatres that will show both big budget and independent films, but I don't know anything specifically.

     

    -Liam

  6. Actually, the moon is mostly darker than 18%. It looks bright white to us because we have nothing but the black of empty space to compare it with. It's like when you work a night exterior and you have a barn door cutting a light. The black inner surface of the barn door will look much brighter than the night sky behind it.

    These values are, as you can see, considerably higher than the other lunar albedos given. For comparison, the albedo of a green golf course is about 13%, roughly the same as that of the Cayley Formation which covers the floor of Ptolemaeus. So you see, the moon is not quite as dark as is often claimed - something about in the middle range of lunar brightnesses is just as bright as a grassy yard at noon.

     

    -- J.S.

     

    Thanks for you responses - but two follow-up questions.

     

    I'm a still a little confused about how bright the moon is exactly. How much darker would you say, on average, the moon is than the typical 18%? (I'm not familiar with lunar geography, so I'm not sure which features listed above account for the majority of the lunar surface)

     

    Also, do you have any idea how much darker the moon will be during the full eclipse? I would like to be able to capture the differant colors and would consider your suggestion of using an ND and then removing it during the full eclipse - but it seems that would create quite a discordance between the darkness of the half eclipse and the full. Not neccesarily a huge problem, but if it were possible to split the difference and overexpose the regular moon just enough that I would still be able to see the colors, that would be preferable.

     

    Again, thanks for all the responses.

     

    -Liam

  7. Issues to consider: The moon will not suddenly go into eclipse. You may notice some dimming throughout the initial hour in the penumbral stage so you need to monitor exposure. You might use some ND during the brightest stage then take it off and open up all the way for the black-out as you may be able to pick up the sometimes red or amber glow it might have in this stage. I'd let it overexpose by two stops from your spot. (How old is that 800asa film?)

     

     

    It's been frozen and I'm not exactly sure, but I know it's less than three years old.

  8. Shooting 800 ASA, you should be able to roll at 24 fps, no need for long exposure on this one. On a clear night, shooting 500 ASA, I've metered the moon at f/16. I'm guessing because of the eclipse it'll be a lot lower than that, but it should still be readable.

    Do you just spotmeter the moon? And any ideas about an effective focal length?

  9. Hey all,

     

    So there is a lunar eclipse tomorrow night which I was thinking about trying to capture on film, but I've never shot the moon before and am looking for some advice. First of all, I would be shooting on 16mm Kodak 800T and I assume that I would need as long a lens as I can find. I don't have a telescope to shoot through, so would it even be worth it to shoot with, say, a 200mm lens or would the moon just be too small. Also, can you just spot meter the moon and work from there or is there a better method of figuring out the exposure? I would guess that it would need to be timed exposures (thumbs going to be tired from that cable release). I know people tend to just shoot stills and then layer them together into films, but you work with that you've got I guess. Any tips would be appreciated.

     

    Thanks.

    Liam

  10. I'm not asking to be an appretice, I wondering more generally if you hear of it happening? There is so much talk about how film is an industry that you need to know people to work your way up, that you CAN work your way up, that it is debatable if going to film school is a worthy enterprise. Like becoming a violin maker, a carpenter, or any other occupation that there seems to be a need to "gather" information through practice - it seems logical that filmmakers would take on apprentices to pass on their knowledge. And I don't mean interns who just come, pick up a little information, and then head off, I mean have you heard of any significant cinematographers, directors, etc. taken someone under their wing?

  11. I don't have experience with the 6080, but on my Nizo Pro (which is quite similar) it seems that once you put the lens in macro you adjust the focus by small movements of the zoom control handle. Rather than using the electronic zoom controls I would put it on manual zoom control and just adjust the zoom (now functioning as the focus) on the lens barrel. I have not actually shot macro with my Nizo, but just playing around with it and visually this seems to work out fine. Maybe someone else with a little more experience can chime in.

     

     

    i just wanted to ask anybody else if they find the 6080 focusing tricky through the viewfinder on the macro settings...? i was reading in the instructions that to set it to the red lettered "macro," you adjust the focus by using the auto focus button on top, and you set the ring to the white lettered "macro," to manually adjust focus in the macro setting.

     

    I remember reading somewhere that if you set the ring to the red dot, and then the focusing ring to the red 15 or 4 ft/m it has a set distance for macro? is this correct?

     

    has anybody got any advice for the macro settings with the 6080? filming tomorrow, and thanks!

  12. Hey all,

     

    I'm familiar with pinhole photography, but I'm wondering if anyone has ever tried to use a pinhole for projection on a small scale. I imagine you'd have to carefully control the distances involved to keep the image somewhat in focus, but I don't even know if the idea is practical in the slightest. Any ideas?

     

    Liam

  13. Should we assume you are shooting some of your film during the day and don't want to use 500T?

    Yes, I would shoot the fireflys in the evening, but obviously the entire film wouldn't take place in the evening and I was wondering what slower stocks might best match the 500T for daytime shooting.

  14. Terry, that would be great. Would it be possible to shoot a cart, open and remove the film, wind it back up and place the newly rolled film back in the cart for a second run. Would probably be more work than it's worth, I guess.

  15. hey all,

     

    I am looking to buy a Eumig Nautica in mechanically sound condition. I am working up a script to shoot in rural Jamaica and I'd love to have something a little more weatherproof than my Nizo. If you have one I'd love to make you an offer so please drop me a line or respond here. Thanks!

     

    -Liam

  16. Thank you. For a follow-up, not wanting to use such a sensitive stock for the entire film, could you recommend stocks that would mix well, not obviously stand out as different stocks?

  17. Hey all,

     

    I assume that many camera tricks and visual effects made with various film techniques (pre-digital effects) were developed for specific movies, but does anyone know of any books or guides from back in the day (70's maybe?) that gives information on film manipulation techniques for interesting effects? I have to imagine that some interesting and creative effects came out of the psychedelic culture....

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