L K Keerthi Basu

Thank you David, my final projection format is going to be both in 16:9 HD and 2K DCP.

Dear friends,

My short film Director is very much interested to shoot his short film in 1.33:1 ratio. We are planning to shoot in Red Dragon, some of my friends came up with a doubt that 4:3 and 1.33:1 are not the same aspect ratio and there will be a project issue will be there. Please clarify my doubt i can't able to sleep.

Dear Friends,

From march 3rd Iam shooting a big riot scene between two groups in a village. The scene takes place at night with huge burning houses of the village with the riot. Entire scene is happening with fire. I can have a big lighting kit since it is the main scene in the film. Shooting with 5 cameras. The set constructing in safe open place with a 500 mts coverage. The scene is taking place in 1975. please give me your valuable ideas to light this whole sequence. Thank you.

Dear Friends,

From march 3rd Iam shooting a big riot scene between two groups in a village. The scene takes place at night with huge burning houses of the village with the riot. Entire scene is happening with fire. I can have a big lighting kit since it is the main scene in the film. Shooting with 5 cameras. The set constructing in safe open place with a 500 mts coverage. The scene is taking place in 1975. please give me your valuable ideas. thank you.

Hello everybody,

I'd appreciate your opinion about my work, any critique will be very halpfull to me.

 

http://vimeo.com/34609184

Hi Michal,

you shot some good images and variety of shots...

good luck keep up

K

Dear Friends,

I have my new project staring from next month Nov first week. Most of the film should be shot in night according to the story. Here in Chennai, India we don't have much balloon lights and the available balloon lights are very costly so i cant afford for project which is a very low budget film. I am planning make the tube shape light for a length of 4'x10' with 5x2 KWs= 10 KWs bulbs in inside the tube. The tube is made out of iron or aluminium, detachable type. the tube will be covered with a light grid for warm light.For daylight I will cover the light grid with 1/2 CTB. For exhaustion of heat iam leaving some open grid from behind the light which is 1/4 skirted.

please suggest me some new ideas to make it work, is it possible to make like that

Please share some of the special effects techniques used from early to present films. The special effects which are done with out the CG. Like the one used in the SAVING PRIVATE RYAN, MOULIN ROUGE.

L.K.KEERTHI BASU

Hi,

The two best national cinema schools in France are La Fémis and ENS Louis Lumière. I know that if you want to spend one year in Louis Lumière, you must already be in a film school that have an agreement with it, and there must be something similar about La Femis. Otherwise, you should take their entry exams, which are for their whole scholarship (3 years in Louis Lumière, 4 years in LaFémis...), and pretty difficult (there is a special exam for foreign students in La Fémis).

I you wish i can give you some more information about these two schools, or others (private, or depending on french universities...) as far as I can (I know different people who did different schools...)

Good luck!

Delphine

Hi Delphine,

It gave some confidence to me when you replied me. i have already came out from a Film school here in Chennai that is in India, it is Film and T.V.Institute of Tamilnadu which is a well known govt institution, i have done Diploma in Film Technology specialised in Motion Picture Film Processing. I am Gold Medalist from there and also won Tamilnadu State Award for Best film Processor in students competition.

Iam currently working as an Associate cinematographer in advertising. is it enough to study in france what are the terms to be fullfilled, please kindly find out some informations regarding the entry exam and also some private colleges which provide these courses, with worth to study.

thank you very much for kindly providing me with some good informations,

L.K.Keerthibasu

Hi Friends,

Here In India from Allaince Franchies Is availing me Scholarship to study in France. Which is the best film school i should choose to study cinematography for one year Programme.

Please Help me because I browsed through many websites but I dont understand French so It is very difficult to choose, and nobody around me are much knowledge about France and the Film studies there.

Please Help me because the courses are Commencing from Sep next year so I should apply by Jan so that other process will take over.

Thanking you,

L.K.Keerthibasu

dear friends,

there are two process in Super 35mm to cinemascope in final print, one is DI method and other is Optical Printing method. I want to know what is the focal length used for the conversion process, and the company which is providing this anamorphic lens for this process.

We have planned to start this conversion here in India with our Oxberry camera, for the super 16 to 35 cinemascope and also for other formates, if I get this lens information i will be kind to you all.

L.K.Keerthi basu

Iam really shocked to hear this news today morning :o , my condolences to John's family. We all miss you a lot JOHN, iam still having your LAD test film and the Letter which you have send it to me.

May your Soul rest in peace,

L.K.Keerthi Basu :(

Hello everybody,

This may be a Bad question but I what to know about what are the Procedures or the tests to be done when we check the camera for the shoot .

We mostly do some of the camera test at rental house like shooting these ,

1. Lens focus check, with the focus chart, grey and color chart test for the redition,

2. Registration test,

3. Ground glass test,

4. we check each and every filter and adapter and the special lens like shift and tilt lens.

5. some of the physical tests of the equipments whether they are at good condition.

Is this enough or any other tests should be done, or I have missed it, so that I can correct that in future.

What are the test you people will do for your checkups

L.K.Keerthibasu

My favorite cinematographers are, Gregg toland, Guy Green, Vittorio Storaro, Subrata Mitra, Azukasu nakia, Sven Nykvist, Vilmos Zigmond, Condrad Hall, Emmanuel Lubezki ........................

Vermeer's always a good one too. I've recently really gotten into looking at Caravaggio's work, fantastic stuff.

 

I got one technique for lighting the "Rembrandt style"...

 

Look at your setup with only one eye. Rembrandt suffered (well, hardly suffered) from stereo blindness, which basically means he didn't have to look at his subjects with one eye closed, but rather his brain would bias towards just one eye as he was painting.

 

Whenever I think of Rembrandt's paintings, it's soft warm images, as if he was painting by candlelight most of the time. Practice in using diffused lighting and playing with CTO's & CTS' until you feel you've achieved that "look"

thank you Jon,

i have came to a decision that is, if i want to bring the images like Rembrant's in Outdoor i have to shoot in the Magic hour. Before the sun rise and sunset. I dont know whether iam right or wrong. If iam going in wrong path please guide me to my destination.

hello everybody,

Please guide me with some good books to learn and Practice about Rembrant Lighting techniques. I have lot collections on Rembrant painting. Iam have a great collection on this realistic lighting and paintings by Rembrant, Caravaggio, Micheal Angleo etc.

Please help me in finding books on the technical aspects about RL. Iam scared about Rembrant Lighting in Outdoor in daylight.

Expecting your fruitful replys,

L.K.Keerthi basu

hello everybody,

Please guide me with some good books to learn and Practice about Rembrant Lighting techniques. I have lot collections on Rembrant painting. Iam have a great collection on this realistic lighting and paintings by Rembrant, Caravaggio, Micheal Angleo etc.

Please help me in finding books on the technical aspects about RL. Iam scared about Rembrant Lighting in Outdoor in daylight.

Expecting your fruitful replys,

L.K.Keerthi basu

Plus the lab is likely to use Xenon projection for its print viewing and timing decisions.

Thank you David.

L.K.Keerthi basu

The color temperature of xenon and carbon arc are similar (near 5400K), and most differences are due to the dichroic heat filters used in the lamphouse. Today, xenon lamphouses tend to be a bit higher in color temperature (near 6000K average) and a bit on the green side of the black body locus. In practice, the slight differences do NOT usually require a change in the print balance.

 

Many still favor the color quality of carbon arc, as it tends to have a spectrum that is a bit smoother and less "spikey" than xenon, but the vast majority of modern theatres use xenon lamps.

Thank you john, what is the standard color temperature for the projection, is the bluer xenon is ok for the projection under the standard conditions. Why you didnt mentioned about this in your practical projection points, for the better image on the screen.

L.K.Keerthi basu

I have a doubt about what is the color temperature of the Carbon arc Projectors and the Xenon lamp film projectors. Is it necessary to grade the print for different projectors like carbon and Xenon lamp film projectos. Please explain me in bit detailed.

L.K.Keerthibasuj

Just got out after a week in the hospital for a partial intestinal blockage. Now on a full liquid diet -- no solid foods. Hopefully, the chemo will help open up the intestine again soon.

For the past months Iam not participating in the forums, Iam really shocked when I saw the topic that you are in Illness. It is also nice to hear that you are back form the hospital to your home, You will get well soon. We are all with you John.

Take care, we all will pray for your wellness.

L.K.Keerthi basu :rolleyes:

what happens if we push Process the film? Will this lead to any distortion to the film.

L.K.Keerthibasu

Thank you John and Dominic.

I will mail after taking the test.

L.K.Keerthibasu

thank you John,

what are the other processing difficulties I will face if I PUSH with TEMP. Is there any difference in the image from TIME PUSHING and TEMP PUSHING. If Iam PUSHING by TIME it will wont affect the negative in longer time in the other processing solutions?

We cannot change the the DEVELOPING TIME only for the DEVELOPER, because our processing plant desing is like that.

L.K.Keerthibasu

We are going to push process our final student film in our film school. We are going to use 5212 and 5218.

There is no way to chage the TIME of developing to PUSH the stock because the machine design is like that in our Film School. When we change the TIME of developing the time in other solutions will change. So we have planned to PUSH this in TEMPERATURE. We are going to push from 1 to 1 1/2 stops.

At what TEMPERATURE I have to set for 1 stop and 1 1/2 stop? I know that If it is time It will be 3 min 40sec for 1 stop and 4min 40sec for 2 stops.

We are going to shoot the test next week both for 5212 and 5218.

L.K.Keerthibasu

I don't think you've been listening to us... this is a BAD idea. Don't do it. It's not worth the money you're going to waste on the film stock, let alone the monitor.

 

What's the point of doing a cheap and bad DI? You might as well have shot on video to begin with! The entire point of a DI is to not visibly lower the quality of the original film in the digital intermediate step, otherwise you should just finish the movie photochemically, or just shoot in video.

 

THINK CAREFULLY: (1) If you spend all that money to shoot in film -- and then (2) all that money to transfer it to HD -- and then (3) severely lower the quality of the image for the final print by doing a cheap & bad DI, you just wasted your money!!!

 

Don't do it. Be smart and drop the idea right now. I mean, what you're trying to do requires a lot of money and technical expertise, and you're asking how you're going to expose the film during the transfer???

Thank You David,

I understand. I Got it.

L.K.Keerthibasu