carl spring

That's interesting. How do you do it?

 

 

 

 

-- J.S.

i was referring to the sensor size and the ability to close the iris to give less shallow DOF, but if you wanted the ultra shallow DOF offered by larger sensors, on a smaller sensor, you would be required to zoom in.

I may be wrong, and apologies if that is the case, however this is my understanding as it stands.

Jay,

might be worth shooting on super8

with the amount of good footage i have, it's hard to be meticulous lol (really want to shoot something else before submission, but just don't have the time for the edit etc.)

not sure how long mine will be, i don't want longer then 10mins (as it will become boring). really hate being on the computer all the time. I wanna go shoot!

peace out

Carl

i agree, GO RED, 35 adapters aren't worth the effort and can leave some horrible outcomes

shoot a high iso, control with ND and get the grain in camera. but would be better to get the quality image and create your own in post (as you will be stuck with the noise once on the master)

everything step should lead to the quality of the output(dependant on what that is). Just make sure you use red to it's strengths. don't be frightened by red, embrace it. read the manuals on Red.com if you are unsure about interface etc. They are very straight forward. and as always people on here will answer questions for you.

good luck and avoid adapters when possible

peace out

Carl

ps. when you finish your showreel, we shall compare. really want to see the competitions work lol (i am very nervous about it all)

Panasonic Varicam is sharper and cleaner but more costly. DOF isn't an issue as you can always add depth (harder to take it away). compression really isn't that bad on the canon 7D. i know some people have had issue with moire but not really an issue for most situations, alot nicer footage from it then alot of cameras i have used. i have a good fix for rolling shutter if that becomes a problem(same as other rolling shutter issues etc). although avoiding is the best way lol, A very flexible camera. would avoid RED due to the hassle of transcoding the file type. but how you use your footage in post will decide on quality

either way lots of choice out there with the right know how, everyone on here will provide the knowledge base and are always very helpful

peace out

Carl

grain in shake, can change size of grain, amount, density, type etc etc.

anything you want you got it

my demo is where i think 16mm would be roughly with the type of grain

http://www.vimeo.com/11079567

peace out

Carl

ps. will do some tests later for you, so you can decide on the post grain.

looking at it, shake has the best out of the two i mentioned

digital has it's own grain. which can look nice, I got a canon 7D if you want, your more then welcome to borrow it. has a nice grain to it, dependant on how you use it(iso, edit sequence codec settings etc.)

post grain can look ok, dependant on what you use. color and shake have ok grains, controllable to an extent. may be worth a look.

peace out

Carl

Video tape back lit rain against a black background and then project it on your actors using a video projector. Add a little smoke and some efan action.

That's an inspiring technique Bob :) . Has anyone ever tried it like this or similar? any examples of work (your own or others) would be cool. gotta love to learn. could look quite cool (a bit 'in cold blood' esq if the rain is filmed maybe through some glass?) could be very nice.

I may very well have to try that in a week or so (if it rains. sunny here at the moment). I will post my findings

ciao for now

Carl

I'm with the rest of them on this one, PARs are cheap and friendly as are Ellipsoidal. Using the foam boards are a good idea kyle, but would suggest a second source(non diegetic) to bounce it to give that soft moonlight on the actors.

Kudos on the use of the projector in the time of need Eric. can't say i would have thought of that (or had them to hand), A good boy scout is always prepared ;)

Good luck with the setup kyle, post your results.

Kindest Regards

Carl

for you jason, i would say blast through those beautiful windows just like Serge say's and cut the 35mm adaptor out of the equation and just keep you DOF low by using NDs and keeping the aperture open. the effect can be delicious

I would not bounce above but maybe side light(both right and left as is a natural thought for windows and light to some from all around in a church) the entire interior of the church using most of the 2k tungstons diffused(I know it seems like the easy way out to diffuse, but the effect would be nicer i think on this occasion) and stick them on Flood (maybe with some nice Amber gels? for some nice warmth and comfortable tones?, or without gels for the cold tones you are talking about).

use the pillars as some nice flagging and a good way to hide stands etc,

stick 4x HMI 1.2 blasting behind the stained glass windows (at front)

use 800w as filling for frontal shots.

That at a glance i Would start with that setup. and no doubt probably edit from there, switch every other side light off and check the feel of the setup. if all that fails, turn the sidelights all around to face the wall(without diffusion). turn one of the exterior HMIs off and bing badder boom soft light and beautiful effect, possibly worth a go to start as an easier option lol.

What do people think, have i gone crazy or does it sound like it could work?

sorry if confusion comes from this post, writing isn't my forte and my mind wanders alot :P

Hope this helps in some crazy way

Carl

looks like a power house of cinema style, i shall have to do as Ralph does and put them on my list.

Thats the brilliant thing about cinema, you can look back and feel inspired

Thanks all

Carl

you are right steve :). unfortunately, i haven't set up a website yet with any recent work (and have my edit suite currently being lent to a friend, and my CV is a bit thin(so isn't worth posting just yet). so here is a link to my old myspace page http://www.myspace.com/thegoof , most work on there is outdated but are some general small examples of work i did as a student, please feel free to take a look.

cheers

Hi, I am looking for some experienced DOPs that i can work with in order to grow in my art.

so if anyone is willing to take on a enthusiastic person who is willing to work hard and learn, then please let me know, as i would love to meet you.

I am relatively talented in most areas of working in moving image (Just so you know, i am not deadweight). I want to grow with experience.

have almost finished working camera on a feature up in leeds called 'Last day's of edgar harding' with DOP David Beaumont

if anyone would like to meet that would be great :) , i am currently living in London (UK)

Kindest Regards

Carl Spring

i do indeed have that beautiful lense. i have a adapter but it is true i could do with some sort of protection(uv,polorizer type item) for the lens. as it is in perfect condition and i want it to stay that way.

Thanks for all you help on this topic Ian. you are very helpful.

Chow for now

Carl :ph34r:

good points, cheers Ian :lol: , i will just get a nice lens hood for it then.

have just brought myself a beaulieu r16, and thought that the one i have just purchased doesnt have a lens hood, so i thought instead of getting a basic lens hood i could look at maybe something a bit nicer i thought about getting a nice matte box any suggestions?

i would also like to know of a budget follow focus that any one can recommend, any suggestions, would be very grateful,

many thanks carl spring

cool, have been thinking of a similar set up

have a sony HC1

am going to be getting in a few months

Mac Pro 2.66(or what ever it maybe once leopard has arrived)

quad core

5GB ram

1x250GB hard drive

2x750GB hard drive (assuming i can raid these two, cuz its not much of a raid but am going to use god hard drives)

256 video card

Blackmagic Design intensity Pro

i will need a component extention as the HC1 from what i know doesnt have hdmi out(from what i know??) and the component that came with it is pretty small, so have been wary about what to get(any advice would be great) how did you create yours?

i think this set up should allow me to do uncompresses HD what do you think? any suggestions for changes of set up let me know, any would be helpful, i have given my self a budget of 2500pounds which i know i can get all things above(have done some searching around), already have the camera so not included in my budget. cheers for your help robert, opened my eyes to using my camera in a new exciting way

regards :ph34r:

carl spring

Hehehe, well that actually was an accident from a previous film that he did called "In Cold Blood." Watch visions of light and I think he explains it...kinda. Its like a strong backlight through the window which highlights the rain from the glass. Then I think the rain doesnt really rain, it kinda drips down the glass. Do some tests, see what happens.

"visions of light" is an excellent doc on cinematography, you can really get some nice insights to the way some of the cinematographers feel about their own and others work, so very passionate and knowledgable a real motivator for all cinematographers and film makers. very much worth a watch. :rolleyes:

Hi i am curious to how you went through the process (how captured etc), have you used a set up similar to what is shown on this article. http://www.dv.com/features/features_item.p...cleId=196602702 seems like an excellent way to get the full use of your camera. so any info would be great

many thanks :rolleyes:

carl spring

some nice points by Mark, however dont be disheartened by his suggestions, your work is to a fair standard, not being perfect just yet is the reason i assume you are going for NFTS, but your work i believe should get you onto the course, pacing seems ok, but i agree with martins point on the tighter edit. good work and good luck, you will do fine

regards

carl spring

thanks to everyone for all suggestions and even doubts on the original concept(can learn from all thoughts), for those debating on how i will get the frames together on an editing system, i will scan all individually and probably pop them into shake and have a play, thought about maybe using the smoothcam node to get them lined up nicely, will prob export from shake to final cut pro for colour correction or i might do this previously in photoshop on each individual frame for a bit better accuracy then pop them into shake

thanks again to all. look forward to any other insights that people wish to express.

carl spring :rolleyes:

I think you have figured it out now, ultra wide is good if stuck in small spaces and want as much information on the film as possible as it brings in information all around and not just a horizontal squeeze. but if you are looking to change the aspect ratio then an animorphic lens should be used, ive recently brought one for my Nizo s800 but am in need of a stepdown ring, so we are both in the experimental stage of the process of using these crazy cool lenses.

best thing to do is do alot of reading on the subject, i can highly recommend American cinematographers manual. jam packed full of info, alwys a thoroughly good read, cant put mine down(well i read the seventh edition because i cant afford the latest at the mo, but great book)

hope this helps

carl spring

shot into my head was really just to say that i had the idea, but thanks for your suggestion, i shall experiment and see what happens, might see about trying to find the most common compact camera with remote feature, so i will be able to find about a dosen of them at the cheap(fingers crossed) in an attempt to avoid slow/uneven action for the shutters, which is one thing i really didnt think about, so many thanks for that particular suggestion.

any other suggestions would be really helpful

cheers

carl spring

hope this is the right part of the forum to post, seems the place to pop it.

any way here goes

A budget idea for doing a time splice shot into my head, and was wanderng if people thought it might work, ok heres the plan idea

buy a bulk of compact 35mm cameras off of ebay and carboots etc( all the same manufacturer and buy same film) and create a fixed stand to mount all onto. buy a remote control for the cameras(just the one hopefully dependant on modal i spose but hopefully get compatable cameras), set up the shot individually and fire off all using the remote. i know alot will be dependant on given light etc. also how many should i get, i spose the more the better really?

just wanted some feedback on if people think this would be a good experiment to conduct?

any feedback would be great

cheers all :blink:

carl spring

might be worth looking in the digital post production suites, a plugin called magic bullet (red giant software i think?) can give some really nice film qualties and is available for a variation of editing software. definatly worth a look. i use on most pieces i shoot hdv on.

hope this helps

carl spring

hi, am fairly new to all this and was tryng to work out the hyperfocal distance formula but stumbled when trying to find the circe of confusion, any help on measuring the circle of confusion would be much appriciated, because i feel somewhat confused and stupid etc

Thanks in advance

carl spring :huh: