Rolfe Klement

So back to my black tunnel idea and a hard 2k - this still shows the studio for earlier shots with a 7ft octodome - basically replaced the octodome with the DP light Basically black all around her outside of shot - a 2k dp light above and to left of camera- open light - no filtration and barn doors shutting it right down A bounce board just below camera and a dark brown wall behind - a hair dryer below the bounce board pointing at her nose Some stills of the studio and other shots (with octodome) Camera goes in gap between bounce board and Octodome thanks Rolfe

thanks! The model had flawless skin and it went very well Rolfe

1 x 2k DP Lowell, Loads of negative fill and one bounce board (oh.. and a small wind machine) A still from a still camera thanks Rolfe

Weird question - someone dropped tea in a box containing my grip fabrics and now they have a stain - can I just wash them in a machine at low temp? I assume so... thanks Rolfe

Is this Barry from AM History X?

Excellent - thanks Rolfe

Anyone know a good place to buy simple foam bounce boards (or reflector boards) in the UK? thanks Rolfe

So it was just me - no assistants, no makeup, no food, no anything. 3 hrs to film. One light. This was a exercise. I wanted to... (well you tell me what you think) http://www.creativesunshine.com/tizi.html thanks Rolfe

there was a demo video of this somewhere on the web that I saw - it was a great effect Anyone have a link? thanks Rolfe

guntastic!

based upon my experience with 35mm film I would say Get a great 2K telecine to DPX files on a hard drive Make a back up of the data drive and store it Buy gluetools and run off 10 bit compressed and uncompressed SD quicktime mov from master 2k DPX (this can take a while) Edit in FCP using compressed SD (and do audio SFX etc) Attach uncompressed SD footage - render to 10 bit uncompressed SD mov file (this can take a while) Take into DVD Studio pro and render out amazing overnight SD DVD at high bit rate (7mb area) Then if someone picks up your idea - you can reconfrm with edl (from FCP) using 2k DPX and render out to film at Capitalfx etc thanks Rolfe

yup - just sunlight coming from behind us - basically a massive soft source Actually works better about noon cause we have no direct light onto talent feels weird when filming but you can see the look it creates thanks Rolfe

I don't have any behind the scenes - it was just me and her. We were rushed and only had 3 hrs to get it all. I am going through a phase of trying to be less encumbered and get back to simple fun film making - so this was a personal shoot... a bit hard on 35mm but fun I include a SD full res shot from Tk - the light from the front is so soft - cause it comes from the sky - you can see some of the black reflected in the 6x6 frame behind her. The highlights are actually reflections from the 1k PAR behind her. The costume was designed to use black - even down to the hood around her head I learnt the technique from Frank Wartenberg - he did some great work with this girl Daniela using black cubes and reflective clothing - I can't find a pic on the web of it thanks Rolfe

run some 5222 filmstock through the 2C with the viewfinder door open and point a video camera at it - records what happens - load into fcp and slow down video footage - this will tell you if the damage is happening at the claw. the plate or the mag entry or exit points. Nice and cheap way of checking - if that doesn't work go see someone at Otto Nemenez (if you are in LA) thanks

not a cube - we only use three black walls out of camera frame - (think of an U shape (but upside down)) This blocks sunlight from the top and sides and creates a very studio look using only daylight It only works on small shots - like 20ft and less (unless you want to get into rigging issues) Then you don't need any lights... I know how hard it is to want to bring lights in but they ruin this effect. Something like this thanks Rolfe

Based on a quick view of the videos there are some definates You need quite a bit of controlled daylight balanced light you need a good grade - with secondary work on the highlights Regarding the onset lighting - The videos are different (1st one is softer and 2nd one is harder) I would say you have various options for the first video look some of the ECU work looks ringlit (at 56k) CU - mount a large softlight ontop of camera (like Adam's girls aloud video) Med - Wide - 18k through 12x12 diffusion Another option would be to build a black cube (2 walls and a roof) around them using 20x20 blacks (just out of shot) We just did that on a shoot last week against a white wall and it was really easy - there was no wind. It was really hard for me to not light this. We used only one 1k tungsten light as a backFX kicker. It was kind of liberating and cheap :rolleyes: Here is a low res one light from the grade (SD tk from 35mm -5218 with 85) - thanks Rolfe

http://www.yonthomas.com/blogvid/lvd.mov Give it 60 seconds thanks Rolfe

Jamming- couldn't get it into throat. But one side of Kodak neg was kind of "bumpy" for tech term thanks Rolfe

check this out http://www.creativesunshine.com/archive/6b...ht/6bylight.htm thanks Rolfe

I saw them recently in a shop and was surprised at how much the price has dropped on the KCM-3100 - wondering if they forgot to put something in them when they took over from Minolta... thanks Rolfe

I just had the same problem but with 5218 in a 400ft mag on Saturday. It might have been my bad loading skills - which were sorely tested after 9 months in hibernation :ph34r: But the roll of Kodak was just weird - it kept jamming in the changing bag during threading - I had to cut about 3 ft off - in 3 cm strips to get it to load- then I got paranoid I had left a strip of cut film in the mag... Anyway - I will test the mag and see - maybe it needs TLC - I also learnt a great trick at ON a while back - give the mag a hard slap and sometimes that just fixes the issue! thanks Rolfe

The summary of our problem was that we had 1080P DPX files. When you import them directly to FCP with Gluetools they would not preview in the timeline to an external broadcast monitor like an Optomo 1080P projector in realtime unless you rendered them to the Blackmagic 1080psf QT first. And it can take a while to render. And you lose the advantage of 1080P DPX format in COLOR and SHAKE since you now have to use a blackmagic QT format. But many people might not ever be in the situation of using 1080P DPX files... thanks Rolfe

I directed a Music Video for an artist based on a winning treatment and pitch. We arrive ready to shoot. Everything is set up. Then the Producers arrive (from Music Label company with A+R guys) and they say "We decided this morning that this video will be for another artist on our books - but don't worry just do exactly what you would have for the original artist" "errr - ok? So the moody noir sequences and the fact that the video we thought we were making was for a female singer songwriter singing about her ex husband - and now you want us to shoot the same thing for a boyband called "SEXYBUM!" or whatever... you don't think the tone might be slightly off..." You should have seen the look of the original artists face - who was still in makeup at the time AND this happened to me twice. Music label change the artist on the day of the shoot. We talked about it later and we decided it might be a thing that Labels do when artists piss them off.. Had to laugh it about it later thanks Rolfe

We just did a project in 1080P DPX and had a problem with decklink. After calling we were told categorically by Decklink that their cards will not do 1080P - they do a weird format called 1080Psf that requires a pre-render of 1080P footage (IN or OUT) This will not impact most people but if you get the External Drive back from Telecine with 1080P DPX and expect to be able to realtime preview on a 1080P system (like Optomo) it will not work and requires a lengthy render. Check under the HD Video standards http://www.decklink.com/products/multibridge/techspecs/ Whereas the KONA will do 1080P thanks Rolfe

Some stills... thanks Rolfe