Raymond O'Neil

Thank you. But I was looking more for cameras that run on batteries. Also, as far as the from diameter goes, the reason why I am asking about is that super8man web-site gives preference to Bauer Royal camera which has 49mm front thread size, which would be easier to fit for example Kowa anamorphic lenses. I'm just wondering what other cameras are suitable better...

Hi, I've been researching information about shooting anamorphic in Super 8 and was reading that it's best to use Super 8 Cameras that have the smallest front lens diameter. Some anamorphic lenses have rear thread sizes of around 50mm and I guess the smaller the front lens size of teh Super 8 Camera the less one will need to zoom in to avoid vignetting. Well,I was wondering if you guys know which Super 8 cameras have the smaller/smallest front lens diameters... Or what are the signs I should look for if I search on eBay for example? Thanks a lot

Tommy, thank you. We didn't do any color correction yet. It's all in camera what you see so far... I'm not a DP, i was the director so second part of the comments is for me :) Thing is there is nothing really happening in the film in the conventional sense, so you had a correct impression about the trailer.

Shot partly with JVC HD100 and HV20 with Redrock M2 35mm adaptor. Official web-site is not up yet, but you can watch the 480P HD video stream with this direct MOV link: http://www.galioneli.com/theomovie/trailers/theo480p.mov Alternatively you can watch HD stream on Vimeo if you have a problem with the link above. Compression is not too bad, but isn't great either. Color space is a bit distorted. http://www.vimeo.com/825323 Thanks a lot for looking.

Shot partly with JVC HD100 and HV20 with Redrock M2 35mm adaptor. Official web-site is not up yet, but you can watch the 480P HD video stream with this direct MOV link: http://www.galioneli.com/theomovie/trailers/theo480p.mov Alternatively you can watch HD stream on Vimeo if you have a problem with the link above. Compression is not too bad, but isn't great either. Color space is a bit distorted. http://www.vimeo.com/825323 Thanks a lot for looking.

25P for PAL, 24P is for NTSC world

Thanks a lot guys. I really appreciate it. Dry ice and post work sounds doable. I willl let you know how it goes.

Hi, i have a scene coming up this weekend where one character splashes a cup of hot tea onto another's face. How do I make it believable that its hot. I guess it should be very steamy but how do I achieve that effect? Thanks a lot

LOL, yes , now I do :) Thanks so much

Thank you. Keying makes sense. Thats probably what I will do then for my scene. Thanks a lot for your feedback

Guys, I am terribly sorry, I think I forgot to include the link to that web-site. http://rarevision.com/home.php Its the second clip called Variable Speed

the clip is called Variable Speed. Obviously I am referring to the effect of the variable speed that was done. The guy is in slo mow, the rest is not.

Would anyone kindly explain how the second clip (called Variable Speed) was done. Was it all post production or something in camera as well? I emailed the site owner, but yet to receive a reply... I am trying to do something similar, where an object in the foreground (a burning cigarette) would burn at its own pace, while a person in background would be in a timelapse, sun passing through the room, etc. Thank you all

Thanks a lot. So basically I will rely on post production.

I can have as much necessary lighting as needed to get that color

Hi, I am shooting a project in HDV format and plan to do bleach by pass in post (digital) I'd like to get saturated burgundy color after bleach bypass. Does anyone know what color I should paint the wall so in the end, after the bleach by pass process I get burgundy color? Thank you so much, Ray

Hi Tim, could you please give a more detailed workflow for capturing 480P60 (tru slo mo?). I have footage captured at HDV-SD60P, which is the same thing as 480P60 I guess, but I can't figure out how to import everything into final cut timeline so it is tru slo mo? In some places I read that I need to conform the footrage in Cinema Tool, others said I can do it in MPEG streamclip, but there are no detailed instructions. Thanks

Just do it Victor. And read A LOT and more than A LOT. and most importantly learn from great filmmakers by watching their films. In the film school they teach you to not simply watch, enjoy and appreciate good films (which is the first step of course) but to deconstruct them (equally important). You should get past the enjoyment phaze and deconstruct every film you watch -- thats how one learns from my experience. ...and then read again. By reading I don't only mean technical literature (which is very important) -- read theory as well, but more importantly literature. Filmmaker without literary background is just like a deaf man aspiring to become a composer. :)

:) Greatest critics of art have never painted, nor made any movies, nor written fiction, but still their opinions matter. So, really, what is your problem? :)

Hi Will, thanks. That's is roughly what I was thiking of doing. I'll have to go through my choices of light. I am thinking of using a Halogen lamp for either a passing light or flickering light. I am not sure how to simulate flickering light though. I'll have to work on that. I will have a Wide Shot showing that the car is not parked near the water, but rather in an urban area. I could do it and this would be an even better solution for me, but how can I cut from him emerging from the water to the back seat again without an apparent/too obvious cut?

I realize I wrote too much and my writing may be very convoluted. So I apologize before hand. I don?t expect anyone to delve into this in detail, all I am hoping for is if anyone has a general advice/comment or if anyone notices a huge discrepancy in my rationale to please tell me. If anyone has a more detailed comment I?d really appreciate. ================== I've been thinking about this scene and probably the best way to do it is to make locations as simple as possible and add some lighting effects? I will describe it below. What do you think? By the way, just to clarify the one technical aspect: I am working with JVC HD100 HDV camcorder, with stock lens. I discarded the ground and bed scenes. Instead, first and last scenes will be in the back seat of a car, while the middle scene stays the same. Seats will be of dark material, most likely leather. It will be a night shot - dark, so I will light the shots which gives me certain flexibility in terms of creating an effect that might help with transitions. Let's assume the following: --------------- The protagonist lies on the back seat of the car unconscious. There is light (may be just a streak of light which crosses narrow path of his face or very subtle soft fill light which barely illuminates his face) coming from the outside. The light comes and goes, in other words it flickers. (What would be the best way to produce flickering light?) When the light goes out the actor is not (or barely) visible - its very dark There is also the driver in the scene. The driver comes around the side of the back door and opens it (car lights come on) ? the actor?s face is illuminated. (I was also thinking it would be nice to produce the effect of human eyes getting-used-to-the-dark-after-a-while. Should I play with the iris/aperture? Keep it closed and then open up a bit? Would it look amateurish? ) The driver might splash some (just a little bit) water in his face and then shut the door. As soon as the door shuts, at that precise moment lights go out and he stays in the dark. I think cut or very fast dissolve is possible at this moment. The thing is I don't want to use excessive movement of the actor or very splashy effect such as lots of water pouring etc, because the water scene is supposed to be very subtle and quiet. ---------- After the cut, I can have the flickering lighting effect come back on and barely illuminate his face - it would be very dark in the water scene as well. I wouldn't want the audience to realize right away that the background has changed. Ideally, the realization would come when he (his head) slowly starts sinking into the water, enhanced with very quiet water sounds. (Is it possible to somehow add a ?well effect? to this particular shot visually not sound wise? So that one thinks the actor is somewhere very deep, like in a shaft or a well? This question might be irrelevant since I decided to keep the XCU on the actor) ------------- Third scene happens in the same car, in the same back seat. In the second scene, when the actor begins to submerge, at some point he opens his eyes (Is it possible to light the scene in a way that camera sees through the water his open eyes? Would I need a special filter for that?) and begins to re-emerge. As soon as his face emerges from the water I can make another cut. I will be filming the actor from behind his head, so on the screen the image (his head) would be upside down. At the moment the actor begins to emerge from the water there could be a cut at a moment when the back of his head fills the camera frame. I could probably make a very fast dissolve/ cut at this point to the third scene where he continues to sit up. Thank you for your time.

Thank you for such detailed replies! I am reading them now and try to distill them. Lots of issues arise of course from my low budget production, but things are clearer now and i will help me come up with a solution I am sure. I will keep posted as how it goes.

The only problem with the large bath-tub and grassy ground in it is that from the crane there is quite a large area visible before it comes down to a close up. It should be clearly visible that he is outdoors. So that's why I have to do three different scenes. In your experience does morphing work well in this kind of situations - to cover up abrupt transitions? And I will try to keep exact same frame... Thank you for your time. I really appreciate your advice.

David, you are absolutely right. He should break the surface of the water. When he sits-up I can either zoom out or dolly out very fast. But the main issue if of transitions between shots/scenes - so they are not noticable. I forgot to add that frame will be 16:9 and even though it will be extreme close-up his face will not cover the whole frame. For this purpose the background will be dark (dark ground, dark water [we will light the scene correctly] and a dark throw over the bed. In essence, the transition could be dramatic: from dark solid ground background to liquid water background, etc.

Hi David, This is basically a dream sequence. first location is ground (outdoor). the actor is lying on the ground, we crane down on him until extreme close-up and we keep extreme close up. Next location could be anywhere where we can put the actor in the water so his head can be submerged. Third location is bedroom where he wakes up. All the time is the same extreme close-up shot without pan, tilt or anything. So just to re-iterate: main idea is that a spectator knows that the actor is lying on the ground, then we crane-in to extreme close up (one continuous shot), then all of a sudden the actor's face goes under water (still one continuous shot), then he begins emergiing from the water (all the time we see his face only) and then finally he wakes up in his bed - all one continuous shot/frame. I realize that in the second shot the actor's face will be wet and in the third one, when he wakes up in his bed, it will be dry. I also realize that transition between the second shot (in the water) and third (in the bed) doesn't have to be as smooth as transition from first (on the ground) to the second (in the water), it can be a subtle cut/extremely fast dissolve or something like that. But in the end one should have a feeling that the actor didn't move, but the locations changed (something akin to the laws of "dream-physics" - universe can move around you but you don't have to move). I am afraid, I am still being vague. I try to be as clear as possible. Does it make sense? This is almost the efect. He will try to emerge from the water, but the actual sitting-up will happen in the last scene - in his bed...