Miguel Bunster

Hi, I am shooting this weekend a short video project. I don?t have many resources and I want to get in some areas of the room specific colors through light. I want to get cyan light in some parts and green light in other parts. My plan is to construct in the ceiling some type of fixtures with fluorescent lights. With them I want to get the colors mentioned. Now my question is (if I cant buy cyan filters) how to get the color. What color-balanced tubes should I get? And what gels to put on them? I will test this tomorrow I have some ideas but any recommendations will be great. Thanks Miguel Ps: Another option is to buy mercury vapor lights.... Any idea on which lights are best for this? Ps2: I will be shooting with the camera set at 3200 K.

Hi, Any one has info on how Barton Fink and Road to perdition hallways were lit? I want to lit a hall way and make pools of light but at the same time not make really hard light, mor a soft type of area.. Any suggestions will be great. Thanks. Miguel

Checkout pancro mirrors... M

Gona check it. Thanks! Miguel

Hi, I nee some guidance in the following issue. I have some shots on my upcoming short film that require the following. Theater shot. The camera travels above the audience heads and ends at the screen. The camera should be about 5 feet tall but need to be at the center of the rows. That will make the horizontal distance between dolly wheels and camera about 6-7 feet. At the end the camera should rise up to 6 feet aprox. Or more if possible but not much more. I can?t lay down track. Hallway shot. I must track in wide angle behind a character for some 50 feet. The floor is in an old building and looks pretty even but not perfect. So I thought maybe of some dolly with suspension that could compensate the bumps. I will see the floor. Is there any small dolly that has this characteristics: Suspension, a jib arm that would rise up to 6-8 feet and that?s is able to use an extension to get the camera horizontally from the dolly base as far as 6-8 feet as well? The camera I am using is not heavy at all. Is a DV camera about 20 pounds. Ideally the dolly has to be small not a huge crane or anything so I can fit it in my budget as well as in my truck. Any help would be really appreciated. Many Thanks! Miguel

Thanks for the help, I will look in to it now (any recomendations where should I call?). I am working how to backlit them, is a complciated scene with tracking camera...about the camera ASA I think it matters to know the sensitivity of the camera. Why would it not matter? Thanks! Miguel

Hi, I am looking for advice in the following, I will be shooting soon a short film which involves night desert shoot. The characters run with flashlights. I want to have the flashlights beam be a cyan color and have a big projection distance. I am working with a video camera that has an ASA of 400-500 aprox. The whole scene is really low light and there will be sand and dust in the air and I would like to se the beam of light. Can some one give some ideas of which flashlights to use or is there some trick with some special unit or something? Any help would be great! Many Thanks! Miguel

Yes you are right, I apologize, don't know why I changed the names, Dany Wolf is the producer. Jayson, Great! and thanks! Miguel

Hi, Does some one know if the movie "Gerry" Directed by Gus Van SAnt and shoot by Dany Wolf appeard in some issue of American Cinematographer or other magazine? I am looking for info on how it was shoot. Apreciate any help. Many thanks! Miguel

ANy knows where I could find info on how Wolkswagen comercial "Milky Way" was shoot? Many thanks Miguel

Thanks for the info! And thanks on the ttips of the wind at night. And about AFI, yes we are allowed to use for this proyect only one camera....I might come up with something not sure how yet.. About balde runner I read all the articles or most and I an trying to find the mirror mentioned...do you know where I could get it? Many Thanks Miguel

Phil, When I find teh deserrt and take some pictures I will let you know right away. I am only able to use one camera for my proyect, is a DXC-D35WSL a 2/3" CCD Camera. It has no NOght Vision option. About the glare int the eyes I dont want to do it with Nightvision on, I want to do it in another seen...so how does this LED thing work? Is a way to get the red eye effect? Many THanks!

Hi, I have some questions and help on them would be great. I am shooting soon a short video proyect and two scenes take place in the desert at night. I am new to L.A (Just enterd AFI) and i am not familiar with the desert at night in novemeber...I would like to catch some place that sees the cioty glare in the horizon... The first thing is that the Director wnats to make a Night Vision look for one shoot and I dont want to post produce the look, I heard Panavision has a Night Vision lens...any one has any experience with it? Also I am planing to tes a vericon or similar option on the camera any suggestions? One more thing that dosent apply to the desert is that i want to make the "Red Eyes" you get on still fotos or the glare that the Replicants had on Blade Runner (I read all th earticles on it). I need help on where to get this type of mirror or is there any other alternative option? Mainly because I want to make the glare at the same time of under exposing the face... Any help would be great!!! I am just new to some things and mainly to L.A. Thanks! Miguel

Whats is the genesis? Miguel

So when you plan to use strong colors in a scene do you prepare diferent if the scene is done in film or video? And beside green what are other diferences in color reproduction in both systems? Miguel

Many Thanks! Miguel

HI, I am not sure about this. I know film creates hues through the sustractive color system and video through the aditive color system. Now, which one produces better color in theory? I would think both would be the same but video is more limited in color reproduction, or so I read. Any comments would be great! Thanks Miguel

I understand perfeclty but have one questoin, language confussion: the highest f-stop on the lens = f16 r so? or high for f/1.4? thanks

In general terms. I understand that working with a full open lens causes some problems (dont know which) and on the other side a closes iris cuases another type of problems. For my thesis I was planing to shoot once scene with a f/16 and my teacher told me to use a wider one like an f/8 becasue the lens would produce some type of aberration. Not sure if distorcion or cromatic. I read many times that cinematogaphers dont like to work with anamorphic lenses with a open f/stop. As well my teacher told me there is graphic chart explaing the perfomance of a lense int erms of color, focus etc. Any help would be great. Thanks Miguel Soon in L.A

Thanks, Will check it out right now. Another question of lenses. I am looking for info on optical aberrations. I understand that there are different type of aberrations (croma, uniformity) depending on the F/stop used and depending on the lenses used. Could you give some insight here please? I checked some books (one the asc manual) but couldnt find what I was looking for. Many thanks Miguel

I understand, but I mean is there a way to planify the shoot before hand....I have to record/film a couple of scenes for my tesis and i need to get the same depth of field for both cameras (of course sacrificing angle of vision and perspective). The cameras are: Arri 16bl with a 12-120mm lense and a PD-150. Thanks

Many thanks! For the clarification. I get point clearly now. Miguel

Is there a way to match the deph of filed between PD-150 and 16mm. I know changing the focal distance and opening the iris, which affect perspective and angle of vision. Is there a Kelly chart for digital video for cameras like the PD-150? Thanks Miguel

I know this questions has ben asked a trillion times but couldt find the answear on the archives. I need it as a data for my thesis, here it is. 16mm emulsions: which is its equivaleny resolution in pixels? Many Thanks. Miguel

One questions...just to get it clear... XL2 is Dv format? Right and Dv format is 720*480....so how does it work with a CCD capable of getting por pixels that the dv format capcity? miguel