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rohtash chandel

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  • Occupation
    2nd Assistant Camera
  • Location
    mumbai (india)
  1. the best way to understand this is to understand exposure time exposure time can be calculated by dividing shutter opening with the product of 360 and fps you are shooting at thus exposure time= shutter opening/ 360 x1/ fps thus when you shoot with 180 shutter opening at 24fps you get exposure time = 180/360X1/24 =1/2x1/24 =1/48 so now when you close your shutter to have 90 degree opening you get exposure time = 90/360x1/24 = 1/4x1/24 = 1/96 which is half the time a frame gets at 180 degree so in oder to make it normal exposure, film would require double amount of light thn it requires with 180 degree opening 2x1/96=1/48 thus you need to give one stop compensation; as it doubles the amount of light reaching the film hope it helps
  2. if stock is fairly old i think you should do some tests before you put it into a freezer, it will give you an idea about the condition stock is in.
  3. oopps yes i actually misunderstood it :( , i thought it was 21/3, seven stops over really made me feel scary ,i thought i have missed somthing critical, :rolleyes: thanks for replying, the dop for whom i am doing lighting continuty was surprised when i asked him about the same but he was quick to rectify it,
  4. while looking at the technical data of kodak vision2 5201 i came across the the term characterstic camera stop curve, if anybody could please elaborate it , i am new to cinematography and have never come across it, and find it little complicated, below i have copied the exact article which is confusing; as it says of under and over exposure in fraction. what does it mean?, it states 21/3 stops accordingly we get 7 stops which is little wierd,i have never heard of 7 stops higher further it says anything over is over exposure lattitude, very confusing :blink: :blink: :blink: On the Characteristic-Camera Stop curve, the center point ("0") on the x-axis corresponds to a normal exposure of an 18-percent gray card in the red, green, and blue layers of this film. A white card is 2 1/3 stops higher than normal exposure. Anything more is overexposure latitude. A 3-percent black card is 2 2/3 stops below normal exposure. Anything less is underexposure latitude. it before
  5. YEAH I GUESS WHEN CRICKET WAS INTRODUCED TO SOME GENIUS WHO COULD NOT DEAL WITH THE BOUNCE, DECIDED TO PLAY IT DIFFERENTLY AND THUS BASEBALL WAS BORN........... I GUESS AS FAR AS MATHEMATICAL CACULATIONS ARE CONCERND DUDE JUST TRYN DEAL WITH THE BOUNCE AND THE MOVEMENT OFF THE WICKET AND FROM THE WICKET........SOUNDING COMLICATED!!!!!!!!THIS IS JUST THE BEGINING
  6. when in doubt .................KISS ;) Keep It Simple Stupid!!!!!!!!!!!
  7. i have doubts about flickering effect for a projection screen as it is more of a sudden change in colour and intensity of light we recently did a shoot which required the same effect, we bounced two pars of the 6' by 4' both placed at two ends and had two guys operating colourd gels in front of the lights(blue, green cosmetic peach cosmetic and occasional white light), the change of colours and intesity on the face of the actors who were suppose to be sitting in front of projection screen was looking perfect . we were shooting against the projector it was mendatory to have the shaft created by the projector, so we placed a 2k with a snoot on it to get the effet it was looking just fine although there was a problem regarding the colour and intensity of light from the projector as it has to change in relation to the colour and the intensity of the light on actors face, which could be easily done later on smoke
  8. ya i guess right thing to do in time of crises is to follow your instincts,
  9. hey jonathan could you please eloborate intercuttability latitude, never heard of it :huh:
  10. first of all i would like to say hi to you as i am interacting with you for first time, i hope you wont mind me asking a foolish question what are the consideration one keeps in mind while opting for super 35(4perf), super35(3 perf) and 35 anamorphic;apart from aspect ratio what are the other factors :blink:
  11. i am confused about what source it would be when you are in a forest ideally it should be moon light yet i have seen few films that have scenes shot in white light (jeeper creepers, monster), you key the actor with some practical but what about the background where does the motivation comes from,
  12. all the time working as an apprentice on the sets i have learned that " it's not important what you light but what you dont" flagging deffinately helps, as taking off unwanted lights make your frame look good once on an outdoor location shooting against the sun we used negative fill by placing 12'by 12' frames with black cloth attached to take off sky bounce to get rid of unwanted light(clouse ups and mid shots)
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