Elie Kamal

well the cf cards i used were both 16 and 8gb, none of them were the original red cf cards but they workes just fine. do u think this is where the problem comes from?

First of all I read all the threads but couldn’t find an answer, I’ve shot a music video last week using red one with zeiss 2.1 prime lenses. I shot it at 2k 16/9, redcode 28 and 25fps. 5600Kelvin , 320 asa. Redspace monitoring (checking with raw from time to time) (build 17.2) I didn’t modify any of the settings (gain, curve…) I shot using an hd monitor (that I was calibrating regularly) and I was constantly checking with my light meter. Well, surprisingly today I was seeing the rushes on scratch and redcine and the noise is enormous!!! It’s like an underexposed vhs! All the picture is noisy, even in the highlights! (I had candles in some scenes and the flame itself is very noisy) PS: 2 shots out of … were without noise…!!!!! It’s not the first time I shoot red and I’ve tested it so many times and this is the first time this thing happens. Any idea why this happened? And the most important thing is how could that be fixed???? Thanks a lot!

well i didn't pay attention to that part and i just thought you were talking about a tv screen effect (topic title)...Sorry!

well there are a couple of techniques that i use. i cannot say which works best for you. i guess you have to try them because it depends on the level you're looking for, effect and mood. 1-using a kinoflo, placing different banks (tungsten and daylight and gelling some) and switching from bank to bank randomly and sometimes switching from 2feet to 4feet. this effect will change the color temp of the light and intensity. 2- using a kinoflo, just close and open the barn door randomly. this will not affect the color temp (unless u place different bulbs on the other side so they would be the only light left when u close the barn door), but will affect exposure. 3- using a video projector connected to a dvd player or tv: 3a- defocus the projector and aim it at your talent (defocus so you don't have the images projected on your actor) 3b- bounce the projector onto a foam board or shine it through a diffusion. well, i bet there are plenty of techniques out there, i guess you have to try and find your own preference. Good Shooting! Elie Kamal

thank you daniel for your input, now the shoot is done and now we're almost done with a rough cut here's some pictures i took on the set with my dslr PS: i'm sorry i couldn't find any other solution to upload all these pictures! by the way how do you upload many pictures???? Cheers!

i'm sorry but i can't upload the refenrence pictures so here's the links: http://www.boleyngirls.com/imgs/boleyn-girls-movie.jpg http://i291.photobucket.com/albums/ll302/D..._10_355x470.jpg http://www.afcinema.com/local/cache-vignet...web-2-fe12c.jpg http://www.dvdpascher.net/screen/dvd/18/18482_image4_big.jpg

hey there, i'm shooting a new short next week using 2 dvx 100B. it's all happening in around 1915 in a women prison. i've got a scene happening in the alley (check attached picture) which i will be shooting with the sun in 3/4 backlight with some haze. the rest of the shoot will be inside the old cave/prison (check attached picture). the cave has only one small window facing a huge door. for the day scenes , i'm planning to place a 5k outside the window (the window will be covered with black block to create a tent around it) and bouncing some red heads on foam board to fill the walls. i will also have some dedo lights, 120cm 4 banks kinflo and china balls. for the night scenes, i will use the 5k outside with half ctb on it. i will also have some oil lanterns as practicals. i will mimic these with china balls on dimmers (mounted on sound boom) and straw(the moving ones) and the fix ones with dedo lights. i will also use some haze to bring the shadows up a bit. My main concern is on how to reveal the beauty of the stones. any thoughts on that and the overall setup? tricky shot: the lead actress in standing in front of the window and the light changes from sunlight to moon in the shot so i'm planing to place the 5k with a frame containing the following : 1/4 cto( on top), then 1/2 cto +nd3(in the center)then 3/4 + nd6 (on the bottom) and move the light down and pan it off. i will also have a 120 kinoflo next to mimic the sky light. the kinoflo will also be panned off shortly after the 5k is completly off. simultaneously a 2k with 1/2 ctb will be panned on and the ped up to mimic the moon light... what do you think of this complication? any input will be appreciated Ps: the look i'm looking for is from "long dimanche de fiancailles" and "the other boleyn girl " (see attached pictures) Regards, Elie Kamal

well, i don't have a vector scope nor a waveform monitor, i rated the camera aftering applying my setting with a grey card which i carry at all times, i'm relying on my meter, the zebra sometimes and my humble eyes specially... thank you all for your input!!! cheers!

Hey there, I?m shooting a sitcom on location(yeah i know it sounds odd but it's really challenging) I?m using the Panasonic P2 (spx800) with canon 8.5mm- 70mm f1.8 digizoom lenses. I?ve set up the camera to the "cleanest options" (mostly a film out scene) (like no color gain, no major matrix changes or color correction, acceptable M.ped,.....) etc... Just what i need to get the desired details, contrast and colors. The result looks pretty fine to me and everyone is happy. Well i have 1 sony trinitron monitor and 2 other tvs (to view each camera separately for me and the director). of course the image looks much different on the monitors and i was wondering what's the best option to maintain my look in terms of colors, contrast, detail... since the final output would be the broadcast and every viewer has a different tv at home! i know about the broadcast and color safety margin and stuff but every other opinion is highly appreciated. thank you all!

it's the red head...(800w tungsten open face). mandarine is the french name of some orange species, and it's called mandarine due to it's shape and orange color.

is it possible to make the following shot?if yes how? the shot starts with a time lapse of 1min 14 sec to get a shot of 30seconds (14 hours original time). and then the camera moves along the street on steadicam i managed to rig the camera in a way that it will stay lock off for the time lapse and then the steadicam operator can take it and put it very smoothly for the rest of the shot, but my main concerne is how to achieve the time lapse and then have the camera to run at 24fps again with my desired T-stop once the camera is on steadicam. Best Regards

Hey Drew, I?ve never lit a pool from the inside but i once worked on a play for which i had to simulate water. so what i did basically was to place some sort of buckets or box in front of the stage with mirrors inside twisted at a certain angle. Then i placed par lights with blue gel (stage lights) above the actors on the cat walk and aimed at the buckets filled with water. once the actors stood on the front of the stage, we shacked the water a bit and it gave a nice water effect on their faces which came from the bottom. i think u should consider the idea of placing mirrors in the pool and then light from outside, just avoid the actors interfering with the light. this way you can be safe and very economic best of Luck!

sounds interresting! now that i have multiple choices i can chose between them :rolleyes: ...thank you so much!

i think i will probably forget about the track and shoot it lock-off. :P :rolleyes: well, i just have another question: i already mentionned that i'm shooting 7218, which option you think is the best: a-shoot it with no filters b-shoot it with 85 and DFN filter c-shoot it just with DFN which one will look not too blue? (i want it a bit blue though moon light for me is just white...) how much you think i should underexpose?or i shouldn't since i'm going to di? i really appreciate all the help!

Hey there,i have a scene happening on the beach around noon. a couple is walking on the sand and looking towards the horizon. it's a very wide shot and i can obvisously see the horizon. originaly it was written to be at noon but i can manage to shoot it around 10h00 or maybe 11h00... is there any nice way for this to look a bit contrasty and have some gold reflexions on the water? (besides shooting in the afternoon and darkening the sky with pola and nd.grad) Many thanks!

hey there, i'm shooting a scene (it's more like a dream or fantastic mood) where i have a very wide shot of a girl running away from dogs chasing her on a river's side. we could see mountains in the back and full moon in between these mountains. i'm using 7218 for the whole film. i'm planning to shoot it day for night; placing day for night filter, ultra contrast filter and nd (graded for a darker sky,nd9 or nd1.2 because i need a shallow depth of field). well my main 2 concers are the following : 1-i'm seeing the moon in the shoot (between the mountains) and no way the sun would look like it! and the shot is extremely wide so i can't avoid the sun (moon) being in the back. (which originally i want to shoot it in backlight to get the girl and the dogs in silhouette and nice reflexion of the water from the river) i don't have the issue with the closer shots for which the "moon" is out of the frame. b-i'm thinking of placing some heavy black promist or a sfx filter to have this "human eye" soft feeling at night but yet again i'm not sure of the effect specially that i already have an ultra contrast filter to get hard shadows (shooting 7218). should i use only get promist and then darken the shadows in post? any ideas? advices or tricks? PS: for those of you who are wondering, yes i know how many filters i can place in a matte box but i can still tape them if i have no room left...hehehehheheh thanks in advance! Elie Kamal

you're right Michael.i got confused with the cameras...but there's something about shooting interlaced and progressive that i want to share; i've recently got a demo disc from kodak in which they compare film to hd...there's a section in the disc when they say that if u want to go high speed on hd it's better to shoot interlaced and the deinterlace in post because the frame blending and resolution/sharpness and defition are better (which is clear in the demo disc comparision...) what do u think of that? and another question plz: i read in a forum that many cinematographers prefer not to use the p+S technique when blowing up on film because the image gets very blurry but in tv broadcast it's great...can u tell me more about it if you agree... thanks a lot...i really appreciate it! Elie Kamal

hey there, i'm preparing for a low budget feature. we'll shoot on sony f900 with a pro35 and zeiss prime lenses. we'll blow it up later to 35mm. unfortunately there's ABSOLUTELY no budget to shoot on super 16. i'm thinking of shooting 1080i and not 720p and later on i will deinterlance everything on smoke or flame before doing the transfer on arri laser.i think i will get a higher resolution with the 1080 rather than shooting 720,especially that we have some high speed shots. any comments,tips or corrections ? i'd really appreciate it. regards, Elie Kamal

thanks a lot! it really helped!

hey there, i always see the terms 4:2:2 and 3:1:1 and so on...i know it's something related to the fields or something ...but could anyone give me a good explanation about it? thx.

Hey there, Is there anyone who can provide me with more technical details about the cinematography of 300? How they lit scenes to obtain the metallic over exposure?(filters,lenses?), the desaturation, the saturation of reds?etc (I know it was shot on green screen and almost everything was CGI)? I just want to know how to reproduce such a scene especially if I'm shooting outdoors and not in a studio. I'd appreciate every kind of help! Elie Kamal.

thank you David for the clarification!

hey there, my name is elie and i'm a student filmmaker. this is my first post so take it easy on me...hehehe well this is a very classical and FAQ for which i haven't got any convencing answer yet. if T stop is more accurate than F stop then why use a light meter and not a spot meter all the time? and if my question is not very accurate would you please explain to me "in a convincing way" the difference between Mrs T and Mrs F?... thanks a lot regards, Elie Kamal.