vikash nowlakha

Thanks Charlie - that link was bang on !!

Was watching C.S.I. Miami and noticed a lot of horizontal flares with super sharp edges - also shooting right into the sun without any halation issues - and the foreground still being sharp ! Wondering if anyone knew how they achieved that. Cheers.

Hi was wondering which stock everyone favoured for picking up white detail. Was considering Eterna 500T- Does any one know what the latitude of this sock is - both going under and over. Cheers

Rosco e colour has it down as 156.

I agree with Michael - use the sheen - You could also enhancance reflection by using a baby oil on your subject if what your shooting allows. Big hot spots out of frame and single kino tubes that dont spill light onto the set can then be used to create reflections where ever you need to see some seperation.

Hey - thanks Jason - yup just received my ac copy in the mail yesterday. Cheers

Recently watched Da Vinci Code - really liked the flashback portions - blown out whites - grainy - monotone images - was wondering if anyone knew if they achieved that through cross processing and then a DI. Just a DI - or ENR and bleach bypass.

Wondering if anyone had any experience shooting video projected from a DLP. Have a combined situation where video needs to be projected on a screen behind the actors and light them as well. Tested the strongest LCD projectors available here and just did'nt have the intensity - moreover the entire foreground image was full of video projection grid lines rather than image. DLP projectors are supposed to be capable of higher lumen outputs - but supposed to have flicker issues - The video projected is at 25fps - was going to also shoot at 25fps - or alternatively should one shoot at 23.976 fps - or 144^ shutter.

Was wondering if anyone here knew of any advanced cinematography workshops - similar to the ones up in Maine - here in LA

The only 500 ASA stock available to me is the 18 from the vision 2 series. My other options are only 17 and 05 also from the vision 2 series. And thats an area I dont want to get into as the locations are cramped and I dont want to use big lights. I also am using a lot of gels on lights that would cut at least a stop. I do however like the grain structure of the 18 stock - compared to the old 79. I realize that the vision 2 series seems really designed for DI -(John ?) - softer curves down the bottom and more overall detail. But could you use those same things to give you a grittier (not mistaken with granier) image. My association with 18 is really the look of lemony snicket - yeah that's an extreme - and really soft light wrapping around. Everything like a painting. Beautifull beautifull film ! What if you utilize the same latitude and light for the extreme ends. 3/4 Key at 2 1/2 stops over camera stop and (dont) fill 3 stops under key. How would the stock handle that. v/s very little light just at the right angles and spots very delicately put. Very controlled. Just drifting into the blacks.

In past experiences found 18 to be a 'soft' stock. Really gentle on faces, incredible detail into the blacks. Low saturation and contrast. Have a situation though where i'd like to take the same stock into an edgier - snappier space - is that possible ? Dont have the opportunity to do a DI or a bleach bypass. All needs to be done either in camera or lighting. Need rich blacks, burning hilights - really low key noir space with really high lighting contrast ! Would you just see too much using 18. Would the blacks be tight, sharp and crisp. What lighting ratio would you go with. Also how do you think tobacco or an antique suede filtration would affect those blacks. cheers

Thanks clive. At the moment shooting with dioperts as could only get a maco lens with a PL mount and shooting with an Arri 3 with an unmodified hard mount. Will have to try and figure out the macro's the next time i can get my hands one one. But it does seem like the best way to go. there is a locally available Zeiss 100mm macro 1:1 - the lens cuts off at a higher stop when on macro right ? Wasnt clear if that was a new 'lens speed' or if it worked out the compensation. Also was wondering of there were any books or sites where one could learn more about macro lenses and macro cinematography. Thanks a ton.

Been looking for some info about shooting extreme closes through the website and the asc manual however havent been able to find anything extensive and conclusive about the same. Lots of stuff on extension tubes and close up diopters but nothing really on the how and why's of macro lenses ! Magnification changes, exposure compensation and depth of field ! Yes, the charts are all there - but seriously need an explanation !!

You might want to look at the 'Feature Film lighting workshop' at the film and television workshops in Maine. Although i think Tim may have a point there.

Sounds great. Although that's not really the course id planned it seems like it's pretty involved. Think ill give it a go ! Thanks again.