alex volkov

Thanks a lot Scott. I'll be doing some tests, so I'll try couple of ways and see what works... Alex Volkov

Hello All, I'm preping for a short film, which will involve some stop motion animation composited with live action. The plan is to shoot the principal photography by the middle of September and go to stop-motion against green screen for compositing. We are animating a paper crane to fly. Besides matching the light with live action photography, the problem of the green screen spill arises. While the plan is to get the subject away from the back drop, I'm trying to figure out if I should have it on some sort of pedestal painted in chroma green (which will give us spill) and deal with it in post, or should i suspend it with chroma green cord/wire. Any suggestions/comments would be greatly appreciated. Thank you, Alex Volkov

We've just shot a similar set up. Using 1.2HMI ARRI. Shooting kodak 5205 250D. Although we were shooting 35mm and not s16. The light had to be pretty close to the window. But we were able to get around 5.6/8 split. We were overexposing a bit so ended up opening about a stop. It was supposed to be early morning as well. So assuming that 1.2 HMI gave us about 5.6 clean(actually we had a 1/4 promist on, no ND at 250 ASA) through the window at about 8' feet to the subject,your 18k should be in around f11 if not f16. So the suggestion to give it some distance is excellent. I don't know if you're going for a shallow depth of field, but if you are, I would say make sure you have some heavy ND's ready. In any case, All the luck. Alex Volkov

Thank you, everybody. The camera body and the mags are going back to the rental house, before we start again on Friday. In addition to lightweights we are getting two steadicam mags, so we'll see how that goes. I have another weekend with this camera. So I'll probably be slapping away... Alex Volkov

Hello All... I'm ACing on a shoot with MOVIECAM COMPACT. There were couple of problems with mags. The film on the take up side keeps rolling up uneven. Sometimes in the middle of the mag, film starts rubbing the door, making it hard for sound when we shoot in tight spaces. And of course when unloading it slides down, and i heard that sometimes the emulsion can get scratched, if trying to push it back in place. I had the same problem with some 16mm cameras like Aaton, but it was fine. Is it due to the fact that the mag is not kept in upright position? I mean if I put it on the door, can the film shift a little, thus rolling up unevenly? This is just for laughs: One of them jammed. When we opened the door the perfs were ripped and a ball of green fluff was inside the camera. We had to vacuum, the insides. But the best part was that it wasn't in the gate. I'm still puzzled because it never happened to me before. My DP and I couldn't figure it out. It's like something got shredded inside. My guess since we were outside some bug or a small leaf got inside even though I doubt it. We're also using re-cans, so I thought maybe it was a bad wind of film... Anyway, Thank you for your replies!! Alex Volkov

I love the Sun through the shades. Got a question though... Why did you leave the walls so blank? Is it an aesthetic choice? And, also, actor's shirt blends in with the walls... Just curious... Thank you, Alex Volkov

Nice stuff, man. My question would be: the window looked 1.85. Did they crop it in the transfer? Or is it my imagination? And also who converted the camera? And if the groundglass has new marks for 1.85, or just 1.66? Thanks

Thank you for clearing it out, Bob. It seems to be fairly simple, and the history is great. I thought those theatrical illusions were done mostly with mirrors somehow, but it is much simpler trick of an eye. Alex Volkov

Hello all, Need an advice. I'm shooting a short project that involves a lot of reflections from different surfaces glass/tableware. In one of the shots I want to do a superimposition effect shooting through clear glass. Say the shot is of a stove and there's a window behind the camera. The clear glass is in front of the lens reflecting the light from the window, and the silhouetted figure of a woman. (The camera and camop are not reflected of course) Couple of questions: How do I make it look organic (not to show that it is an actual glass)? Is it the angle of the glass? What about DoF? Should the reflection be in focus, or is it better to have it slightly out, to soften the surface (from the technical standpoint not esthetically)? Don't have the time to shoot a test. The project is in s16 with XTR. Film stock most likely 7218. I might also go with 250D. Thank you, Alex Volkov