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aapo lettinen

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  1. The parcel services like UPS are much more reliable than regular mail at the moment. I sent a camera motor to the States a month ago via UPS Saver and it took exactly the normal expected delivery time. On the other hand, mail has been extremely unpredictable nowadays (3 months for a small package from the USA to here and lots of variation between European countries. For example you can expect the shipping from Germany to Finland to arrive in about the normal time (something like from 6 to 10 days) but from Austria (the neighbouring country of Germany) it will take from 1 to 2 months. The orders from Ukraine have arrived very fast (maybe 7 or 8 days or so) but everything ordered from Russia will always take exactly 2 months to arrive. So if wanting to ship anything to the Europe, I would use a parcel service like UPS or FedEx and forget about using normal mail. The normal mail just does not work reliably at the moment. The Leicina cameras have a centrifugal switch which regulates the motor speed (or in the case of the Leicina SV, you have two switches, one for every camera speed). I haven't really tested calibrating these because I am only interested in converting these cameras to crystal sync which requires getting rid of the original centrifugal switch anyway. The motor is not very powerful so a mechanical problem will easily slow the camera down considerably. If the camera is not properly serviced then that could cause the problems (the film transport causing too much friction. For example the pulldown system has a wheel on which the claw system slides on and that can cause lots of friction if there is no lubricants on the surfaces at all. Of course the centrifugal switches or the motor can also be faulty but I would look for mechanical issues first :)
  2. Producer's work is actually what enables making the film in the first place. I would say it is about 80% of the whole filmmaking process. He/she actually gets the film made and distributed and uses his/her connections to arrange everything you need. It takes about 15 to 20 years to build the connections needed to get a reasonable budget feature film made (budget range from 500k to 8 million) and the low budget stuff needs lots of work too. That is the reason why it is so hard for indie filmmakers to get decent budget: their producer is not experienced enough. The work of the producer also enables making distribution contracts before the film is even made which is vital if you need to get any money back from it (everything done commercially is produced this way). The shoestring indie approach where you think that you will first complete the movie and THEN distribute it does not work at all if you need to get money back from it. Meaning that you will need to pay the distribution costs from your own pocket too. That generally means that the film gets very limited screening and very few people get to see it at all. So like Uli said, if you don't want to work with a experienced producer and get your film properly produced and sold beforehand, then the best approach is just to give it away for free and try to get some profit from the next one if your first film gets enough attention that experienced people get interested. From the samples you posted before, you would want to hire a good editor too. I think the weak parts of those two shorts on your Vimeo account were specifically cinematography (lighting and camera work) and editing. I don't want to be discouraging but you really need much more editing experience than you currently have to put together a feature film which is watchable. Just get a good editor for your project and you will understand better then 🙂
  3. If my neighbour had a nuclear missile you'd be darn sure I would want one too! For self defence of course 😄 But if every person here would own a nuclear missile or two there would be much higher probability that one would make a murder with a nuclear missile or just snapping and starting to shoot missiles around. See the point? Guns used for violence because guns are easily and readily available. But violence is not caused by guns... if guns would not be available, people would use something else for violence. But if the social problems which lead to violence would be solved instead then there would be less violence and less lives lost, even if guns were available. Guns are just tools and people use the best tools they have available. The less bad stuff they have to do the easier and nicer it is for us all so one should change the society instead of just taking all the guns away and thinking that people would magically stop killing each other then. Ever think why there is massively more serial killers in the US compared to other countries? It is the society which hammers to your head very early on that you have to be very unique and talented and special and publicly known to be worthy as a human being. Certain types of people try to archieve this by killing other persons in the most horrible and unique ways and patterns to get media attention and to raise widespread public fear. The same pattern leads to certain type of mass shootings as well. Rejected and depressed people trying to get themselves noticed and respected even once in their life. I blame the pop culture, the media which feeds you mostly negative news even if there is equal amount of good and bad news available (giving the impression that 99% to 100% of the stuff happening in the world is negative in general) and the whole society which pushes you down because you don't have enough money/talent/skills/fame/good looks/whatever they think it is that a ideal human being should have (the "stars" have it all and the pop culture feeds you the mindset that every single person has to reach all that as well). And on the other hand telling you that everyone is perfect and talented as is and can do anything without skills if only having a chance of getting noticed (the talent shows etc) . No wonder people flip and do unimaginably horrible things when the whole culture messes up their heads this way. Or most of them just get depressed and passive and get stuck in front of the screen watching lazily made entertainment without any hope of making anything meaningful in their life
  4. aapo lettinen


    Oh it's a successor for his previous 8mm design. He even mentions the plans for the 16mm version in that thread
  5. aapo lettinen


    are you referring to the Kiev 16U design in the thread title? if you ever need a crystal sync control for your camera, please let me know. I can custom design a crystal system for you if needed... lots of different options and possible user interfaces 🙂 Separate magazines tend to be easier if the camera is silent enough for sync sound (shooting more rolls per day than if using it for MOS stuff) . Separate magazines would allow using cores when loading which might reduce noise considerably
  6. Europeans always get triggered when the Americans boast about their freedom compared to ours. I wonder why that is but this is not the first time on this forum 😄 the thing is, social problems create insecurity in many ways. and if those problems are not fully addressed first hand then an individual would need to protect oneself in some way from the insecurity of the society. In some European countries the social problems are addressed other way than in the US and this makes the whole society behave differently. Maybe it can be safer to individual citizens in some ways for this reason. More safety nets for persons who are financially unlucky and so on. Public healthcare, free education etc. which can help preventing poverty and help even the poorest ones to archive something in their life if they just work hard enough. You can become a lawyer or a doctor even if you are from the poorest family there is and have no dime to spend on education. This can lower crime rates in the long run and even if there is someone trying to rob you (extremely rare here) they will only have their fists or a knife or something so you can just run to safety. You can get shot only if you get very involved in the drug business the motorcycle gangs are handling. they are carrying guns of course like in any other parts of the world... Hunting weapons are very common here though. People love shooting deers and birds and such. Every now and then someone shoots their friend or a family member when being depressed or drunk or just generally snapping. One can't protect oneself from this kind of stuff and if there would be no hunting weapons then they would use a freaking axe or something. Very different from the stuff you need handguns for
  7. Well, the idea is to tell the kind of stories which are really worth telling. It can indeed be pretty depressing if the filmmaking process is painful and incredibly difficult and the end product is also bad and worth nothing. So don't do any painful projects if it is not really worth it and if the movie itself is not great and unique. Making a good movie should still be fun or at least tolerable though. There is so many indie productions out there which have too unrealistic plans and way too little time and budget for making any of it the right way. That easily leads to 20+ hour days, accidents etc when trying to get every last bit out of the already tired crew. So the best thing you can do is to make projects which you really really want to do and to try to only work on projects which are worth it. Don't risk your life or your physical and mental health, no movie is never worth that no matter how good the director thinks the movie is. Like Tyler said, you will fall down countless times and your most important skill is to be able to pick yourself up again and again no matter how many times you have failed. Learn from your mistakes, correct them if you can and then try again until you succeed
  8. that is excellent news! I assume you will both direct and be the DP on this project? When making the movie I highly recommend getting an experienced gaffer if in any way possible. You will want a good camera assistant and key grip too. Best to start getting comfortable working with a crew from early on and it is much easier and faster to work that way than to wear too many hats on set :) If your gaffer and camera team is experienced you will learn a lot from them and will build up your skillset that way. It is fortunate that the camera technology has advanced so much in the recent years and the LED lights are very usable nowadays. So you can work fast to stay on schedule and still create some stunning stuff which helps getting more jobs later. If the story allows you can go with a stylistic look and mood which is not necessarily expensive but will help getting you noticed better. The film does not need to look "cheap and boring" if it is low budget! This is something I shot couple of years ago. the budget range of this is somewhere around 10K though it is a bit shorter film. The technology has advanced since so it is easier to get this type of stuff in 2020. By my opinion one could look for something like this type of moody and visually interesting stuff with optical filter effects if you want to build your cinematographer reel (don't mind the story, it is loosely based on Finnish mythology and may be difficult to follow even for the local audience) https://vimeo.com/212097418
  9. I think Tyler is right in that you should wait til the Covid recession wears out before making any risky moves. You said you already have savings meant for the LA move which is great especially in the current economic situation where it is good to have some kind of backup just in case. But in the current situation it might be safest to wait for a while until the situation stabilises and in the meantime get your skills up by making local smaller budget stuff and your own projects. After the recession the entertainment industry will probably boom again and you will want to be present and competent and in the right place at that moment, not now when everything is quiet and uncertain. One thing I would recommend is to learn to edit very well and to get competent on standard post production workflow and techniques. You will need those skills for your cinematography career and they will help getting more income when you are able to get editing related work as well
  10. I think that I will build the CP16R crystal update around my new crystal sync generator design which is able to generate speed references in either .01fps or .001fps steps depending on the programming. Will have to figure out a suitable user interface for it though, that can take months. I am estimating that the update will cost something around 1000usd + shipping or something like that. I will most likely build a simpler 10 or 12 speed system for my own use first and then update my own camera later when I'll figure out the user interface for the more advanced final system. The 10 or 12 speed version will probably be something around 600 to 700 USD + shipping if someone happens to be interested in that intermediate version. We'll see next year how it goes :)
  11. I think the EOS RP does not allow much higher than 120Mbps so you could be fine with one card too if not having tons of takes. Getting another 128GB could be wise for security
  12. one byte is 8 bits so it is pretty easy to calculate the storage needs when knowing the bitrate of the video/audio stream. So for example 80Mbps would be 10MB/s which would be 10 times 60 = 600MB per minute and the 128GB (gigabytes) card would last approximately 128 000 MB / 600MB/min = 213.333 minutes on the 80Mbps bitrate. It is less in the real world but you would get an approximate this way 🙂 You would want to have at least two hours of raw material on the single 128GB card (depending on how you shoot but the 2 hours should be pretty OK amount of material for that type of shoot) . So you will have 120minutes of material expected which is 120 x 60 = 7200 seconds of material per day. 128 000 MB / 7200 seconds = 17.777 MB/second (MegaBytes per second) which is (remembering that one byte is 8 bits) 17.777 times 8 = 142.222 megabits per second. So the way I estimate these things, you would need to have a bitrate of about 140megabits per second or less for the raw material if wanting to shoot approximately 2 hours of raw material which should probably last for the day I think. If having two cards and offloading during the day then you could shoot more or have higher bitrate. But remember that offloading during the day will always need at least two cards, preferably three or more (for example two larger cards which are regularly used and one small as a backup to record to if the offloading lasts longer than expected) . Can you manage with the less than 140Mb/s bitrate to survive the day with a single card or could you offload and wipe cards during the day to shoot more hours or with higher bitrate? Generally you would shoot with one of the highest settings the camera allows if wanting to produce material for cinema screens. I like to have the bitrate to be over 300Mbps for 4K material to start with. Depending on the codec used. You can manage with less of course but it is generally a good idea to try to get the best quality raw material you can... you can always make it look worse in post but making bad quality material better is very difficult and depressing especially if the camera would have been capable of much higher quality. Editing 4K with a old computer is pretty easy if using proxies. You don't need the original material for editing, just something to see the image in good enough quality to judge focus and acting performances. There is lots of threads about proxy editing and you can ask for help if needed 🙂
  13. I think the HMI is supposed to be about 4 times more energy efficient than tungsten bulb (something like 20% efficient compared to the close to 5% efficiency of a tungsten bulb). If it's a HMI Par vs. tungsten fresnel then it may have even more output depending on the fixture. You have to also take into account that you generally need to gel the tungsten or HMI to compare them against each other for same application. If you need cold light and will need to gel the tungsten up you will lose 1.5 or 2 stops of light compared to gelling the HMI down which would take approx. 2/3 of a stop. So the HMI can give from 8 to 16 times more output compared to similar wattage tungsten if you are intending to use both at 5400K or more. For LED vs. HMI the difference is smaller because the gelling is pretty much the same for both. Even when the LED is more energy efficient the difference is something like 20% for HMI and 30 to 60% for LED. The HMI being a more pointy source so it can have advantages when needing bright and hard light. But the gelling matters a lot and it is very signifiant variable when comparing either LED or HMI to tungsten in any application
  14. That is a wise approach when you are starting out. Especially if concentrating on short films which you are shooting irregularly. When you have couple of weeks worth of shooting per year where you need a better camera you can start consider purchasing :) If I would buy a camera at the moment it could be something like the Panasonic S5 kit with the kit lens, extra batteries and some adaptors to mount additional manual lenses. You can ask lights for rent too if they have something suitable for a small project. Battery powered led panels in 30w - 100w range would be ideal if you can get them for cheap :)
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