boy yniguez

ambient is one of the settings for a flashmeter, the others being cord or no cord. all it means is that it is reading continuous light, not a pop of a strobe. go ahead, use it. i use one too!

of course you can use a stills camera for metering but do remember that doing so you are reading reflected light not incident so you must take into consideration the difference in metering methods. also the correct shutter speed equivalent is 1/48sec, and also the bolex reflex , if it is the RX model, eats up a third of a stop in its split-prism. boy

you're correct rami, only surfaces or objects painted with phosphorescent paint (day-glo) with show under ultraviolet light. you would need daylight lamps gelled with congo blue to keep the look of untraviolet (light from tungsten lamps will be reduced to zero with congo blue) warning though - congo blue transmits less than 1% of the light so you may need big daylight units! boy

hello, francisco, sherman is correct about the mattebox. it happens when the ac puts an 85mm mask on the mattebox when shooting with a telephoto thinking " hey the angle of acceptance of the 85mm is wider than longer telephotos so it must be fine". WRONG! the diameter of the front element has to be taken into consideration, a smaller mask actually is cutting light that's supposed to enter the outer edges of the lens thus decreasing exposure. since objects very near the telephoto lens disappear, you won't see this cut-offs in the sides of the image, only in the bokeh! boy

a light leak from the video tap or from elsewhere in the camera body would just produce flares in the negative, not focused images. now if the tap was actually bouncing back images, then it would be from within the scene visible through the finder, not outside the frame!

a split mono is not stereo.

even time magazine was guilty of this when they had to feature the pyramids of egypt on their cover some years ago. they couldn't fit the two pyramids in a vertical compostion so they they just moved them closer to each other digitally. is it any wonder photographs are no longer usable as evidence in court?

the key words to your query are the "bright OFFSCREEN objects" getting mirrored into the frame. this strongly suggests improperly aligned two or more filters in front of the lens that were causing reflections in between them. this occurs a lot when using more filters than a matte box can accomodate and a filter is taped onto the front of the filter array of the box. did that happen at all?

how about the point of view(?) of a nose smelling the scene?

shoot at the slowest frame rate the camera allows but of course that speeds up the action! boy y

yup, the ring light is the ultimate erase-all-the wrinkles solution. similar to paul's contraption i usually use a 4x4 styro with with a hole in the middle but use 4x1 tube or 4x2tubes of kino 40 taken out of their housing and assembled into a 4x4 square light on the styro. just gives an alien-look catchlight on the talent's eyes though.

instead of placing a flex fill on the floor and use the bounce light, what if I get a kino flow and place it low (pointing at her from a lower angle)? would that work? or is it still too strong? Also, will a soft filter work? thanks! M.T. the flexfill would still give a broader therefore softer source than a kino. the strength of the underlight would be varied depending on how much eyebags and bone structure the talent has!

AGUIRRE, WRATH OF GOD by werner herzog

you're welcome, brad! i found a photo of an upsidedown cockroach with its legs pointing up taken with an ordinary 24mm lens mounted backwards on a nikon D40. note the eyes, the globes at the bottom of the frame. for a larger size of this photo check http://farm3.static.flickr.com/2266/170467...52cb8759c_b.jpg

hi, one would normally shoot the scene with the actor playing the first role in the real set then shoot the scene again with the same actor playing the second role against green screen so that he can be keyed in the the scene. if it involves camera movement then a motion-control rig would be necessary to repeat the movement done in the first pass!

like i mentioned earlier there's no need for extension tubes or bellows thus no need for compensations on exposures!

hi, brad! sorry, i was not too clear about my reply but what i meant was that it was totally unnecessary to stack two lenses together as mounting a wide-angle lens backwards wherein the front element is towards the mount and the rear element is pointing at the subject creates a much higher magnification and a sharper rendition compared to a regular lens pulled away from the camera body with several extension tubes. of course to date i don't know of any accessory for film cameras to facilitate that but we've successfully mounted a backward-mounted lens with lots of gaffers tape (sorry, in the philippines we need to improvise a lot). since a wider lens covers a wider field of view, a backward-mounted wider lens projects a bigger image on the film plane thus creating a larger magnification. in still photography i have an adaptor ring with a nikon mount on one side and a 52mm thread on the other such that you can screw on a regular nikon lens (pre-digital) backwards. my attached photo was created with such contraption! i hope i've made in clearer to you and thanks for the reply!

if it was just a matter getting very close to a tiny subject without using a macro try inverting a 25mm lens or even wider. the wider you go the stronger the magnification.

daniel, you don't seem to understand video! in video you can not adjust frame rates from the 30 fps (NTSC). the slow shutter setting is done electronically such that there is no corresponding change in frame rate unlike that of film.

it is a whole lot more difficult to execute on film but in video there are consumer handicam models that have slow shutter settings that will give you those streaks but keeping motion normal!

he means recomposing the shot by using part of the image above or below what was composed for, not racking as in shifting focus perpendicular to the lens axis, which is by the way the least important use of a shift lens!

he means recomposing the shot by using part of the image above or below what was composed for, not racking as in shifting focus perpendicular to the lens axis, which is by the way the least important use of a shift lens!

a former apprentice of mine, now practicing director-cinematographer paolo dy entered his short film QWERTY. http://films.thelot.com/films/34972. "A mentally-afflicted young man is accused of murdering his longtime benefactor. The truth of what really happened lies in his mad obsession with his supposed victim's old typewriter, on which he types relentlessly, day and night. /// The original upload of this film has received 31,000 views and a consistent 5 stars after 470 ratings :) the exposure alone could be a big boost to his career! please view the film and send comments! boy y