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Max Hoever

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  1. Thanks everybody for your answers!! I started shooting with the version David recommended, it seems to working out. And its a not that expensive tool too! THX
  2. Hi there, can someone tell me how to create lightning in a good and easy way!? Would be ideal to find a way of doing it with different sources of different itensities shifted at almoust the same time without spending to much money :rolleyes: We are shooting on film. I dont know if you normaly link the lamp (flash or "normal") with the cam so that you can be sure, that you hit the exposure!? But even if, we wont have any opportunity to do so. Cant afford any computer based stuff I think. I wouldnt care about having a amplitudinal flash for about 3 frames to be sure to catch it... I heard of people just having two guys with flags in front of a HMI opening up for a very short time.. ..and about some jalousie applications for a lamp where you just push a button!? I'm curios about any ideas.. also, if someone has any recommendations about films with lightning?? I know there are lots of, but just like that nothing really comes to my mind. THANX FOR YOUR HELP
  3. Some Rental in Poland doesnt want to give me a 4 k arrisun if I wanne run it with a 5.5kw honda generator, because they think the lamp could break down. So because I didn't believe that, I spoke to ARRi Rental in Berlin an they said, that nothing could happen exept that the power supply unit could shut down the lamp because the voltage is going to much down. But that could cause nothing worse than that we have to reshoot the scene! Does someone know anything contrary!? Thanx for the help
  4. I´m a student who studies in poland. Where you can afford a 1080p transfer. Thats not much, but I think most of the theatrical trailers are not more than 1080, so I can live with that as a result. And later on I have a sponsoring for a ARRI laser and all the stuff in between in Germany. I dont't think I sorted out all of my questions. What I wrote are just some "maybe" answers, with my student knowlage, which is normaly not including DI stuff as you seem to know. I dont have so much experiance, so I wanted to know, if what I thought is maybe right! ??? So if you would like to answer now, I would be glad to read what you say! ...and why should I do what anyway? DI? Because I have some 3D stuff which needs to be combined with the actual picture. THANX
  5. Hallo there! I'm going to shoot a short feature on 35mm. I would like to use 160T Vivid for most outside stuff, which is 85% and take 500T eterna for the rare insides and dusk, dawn stuff. I'm going to have a full DI. The question are (never shot for DI): 1. When I shoot for DI do I have to give it the usual 2/3 stop of over exposure, or is there no need, because there is no copy process... Or is this also important in DI case? It maybe could because of the fact that the slower layers are more asked then (less grain) and so on! But I don't really have an idea... 2. I would like to shoot as much as possible on the slower stock and there will be situations with a low light level where I have to decide to take the 85 or just leave it. Anyway, I think that the converting can be done easily later, but I'm not sure!? And if I don't take the filter when I need the 2/3 of the stop, so why not maybe leave it away for the whole time and just correct that in the post to have it all even!? Or is there another impact which the 85filter could have? 3. How important would you in general rate the importance of the stock when having DI in terms of colors for example. I know that if I take the Vivid, that it makes a difference because it is more rampant. What you don’t capture can’t be given to you by a DI! But that’s what I want. But when I for example like the pushed Vision 1 500 much more than the Eterna that is just because of color. And the Fuji is cheaper (student film), so why not take it for the pushed stuff also and get rid of the color shifting later. A lot questions! Hope someone can help me and I wasn’t to confuse! THANX MAX
  6. I'm searching for nicely shot scenes in which: - A dog chases men - Roof scene (no action, no matrix and no lovers looking at the night sky) - Different ways of shooting in staircases I’m interested in the breaking down of the scene, light a. s. o. (...for example different slow motions for the chase). All of that I have already seen quite often, but now that I think of it, there is not so much coming to my mind! ...Hope someone else’s brain works better than mine! Waiting for prepositions! THANX
  7. first of all, thank you very much - again for a very detailed answer! I'm studying in Lodz/Poland but i normaly work and study in Germany. In both countries I asked the headquarter of Fuji ( I think Germany is even the european headquarter of FUIJFILM), but both say, they unfortunately can`t deliver that stock before the end of July. Last month I got a sample from FUJI Poland and they, in that time, said, that its gonne be available now. ...BUT now somehow they're not even sure if it will be July!?? So that seams hopeless! And I don't think I will shoot reversal. So it must be another stock. ...and pushing 1 stop for the whole film won't bring up to much grain? and maybe anhanzing till infinity and then bleachbypass? I don't know! ...But anyway the silver will stay on and cover the colors, no matter how strong they are. ore is that wrong? I have to find a difenrent a different stock... :(
  8. thats a digital shot, modified in photoshop. More or less where should go to....
  9. I wanne shoot a shortfilm with a higher contrast, but don't wanne desaturate the colors! ...so I don't really wanne use bleachbypass. It shuold look like hot summer, but not the hard top light with high contrast, blue colours and desatuaration kind of way, more a nice warm feeling (maybe rather Kodak then Fuji!?). I would like to have red, and orange and also skintones with a "normal" ore even a bit more satuaration. Many parts wii take place in indistrial ruins. And would like to have the brickbuildings quite "present". I thought of maybe some redenhancer or similiar filters, but I normaly don't use filters at all. Means, I don't know so much about the effects! The contrast doesn't have to be amazingly high, but higher than normal prosess and a newer stock would give me (think older stocks woulnd be enough either). Most of the shots are outside day, so I first thought of using the new 160 Fuji. But Fuji europe can't give it before July and I wanne shoot in 4 weeks. I will shoot on 35 but with no digital intermediate. So everything must be done analog. ...Still wanne do testing of course. Hope it wasn't too confuse, maybe anyone has an idea?! Thax very much
  10. super, the colour diagram explained to me, what I somehow always knew but never was sure of. Its really good to find simple explanations who bring it to the point! THANKS FOR THAT
  11. Yes, printing and not copy lights was what i meant! Thanks for the answer, I haven't yet read the info on your page, but anyway I would be glad, if you could also send me the picture! mhoever@gmx.de THANK YOU
  12. Does anyone know a place to look for a deeper article about copy lights? I don't really find anything online and the books I found can't help me as well. ...for example "Image Control" by Hirschfeld - I thought that one could help me, but it also stays very much on the surface. I wanne know how the machine technically works. and for example which light (RGB)i have to de- or increase to work against or for any of the six colours RGB and YCM! Thanx very much...
  13. Thanx!!! Right, I thought that also applies for positive, but that really makes no sense.... ...anyway I more like to expose it properly so that’s good for me. But, is it wrong, that the FUJI 500D has a bigger Contrast then for example the Eterna 500T? I don’t think I want to push because of the grain, so I would rather take a real 500. And the 500 Eterna will probably be less grainy than the much older 500D, right? So 500 T than would fit more in terms of sharpness, but maybe the 500D in terms of Contrast!? Anyway I don't think the contrast difference at the end will be so much, when I bleach bypass the copy! And most 500 stuff will be inside (so it doesn’t have to be that much comparable to the outside shots) and just some will be blue hour (and that I don’t want to have that much of contrast). Or what do you think?
  14. I want to shoot a student feature on the 160 Vivid, which is a bit more contrasty than the "normal" new stocks from what I know! I will mostly use it for all the outside stuff. This will be about 70 % of the whole project! I'm planning to even bleach bypass it in the positive. I hope the contrast will not be too high, but anyway even the curve of the 160 is not that steep! ...I'm still waiting for the lab to do my testing the copy! ...as you know, if you don’t have money you have to wait till someone else comes along with the same special processing! What I wanted to ask if someone knows a high-speed stock that could match the 160! I need some 500 for interiors and some dusk shots! ...I heard that the Fuji 500 D could be good, but I don’t know that stock by myself! 2. Question: When I do the bleach bypass in the positive, do I really have to underexpose the negative for about 2/3 of a stop? I somehow feel bad with underexposing it; I would rather bring it down a bit with the printing lights when making the copy and be a bit careful with the contrast ratio during the shoot! What do you think! Thank you very much!
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