Jump to content

Marie Davignon

Basic Member
  • Content Count

    9
  • Joined

  • Last visited

About Marie Davignon

  • Rank
    New

Profile Information

  • Occupation
    Cinematographer
  • Location
    Montreal, Quebec, Canada

Contact Methods

  • Website URL
    http://mdavignon.com
  1. Hi, I am about to shoot a short movie with the Red Scarlet. Prior to that, we will shoot some 8mm footage. During one scene, a character is going to start a super 8mm projector and then go in front of it (in the projected image) and interact with the character from the super 8mm footage. I am aware of the "scanning line" problem due to the rolling shutter of the Scarlet. My solution was to film the super 8mm footage with a non-rolling shutter camera. (I believe it is the cheap alternative to a scan) And then cheat the projection with a digital projector, pretending it comes from the super 8mm projector. Do you think it would work? Would it look fake? My main goal though would be to be able to see the super 8mm projector rolling and its image in the same shot. I was wondering what would be my other options? Thanks for your advices, Marie
  2. Thanks for your advices, it was very useful. I did some tests and ended up choosing the Cook Panchros, especially for their increased flaring which gives me the milkiness I was looking for. The shoot starts tomorrow, wish me luck!
  3. Marie Davignon

    HMI + Alexa

    I have an important question : Do I need to use flicker free HMI ballasts when shooting with the Alexa at 24 fps? 23,97? Does it work like the RED, with a rolling shutter that can make some lines moving through the frame? Thanks!
  4. Hi, I'm a young director of photography. I've been doing this for a few years already (lets say 3 or 4), but I feel I have still a lot to explore in my field of expertise. I am about to shoot a short in a little more than a month. The director and I would like to achieve a "milky" but subtle look, maybe a little soft too (?), with the Alexa. We have an ultra prime lenses kit and we'll probably shoot LogC prores4444. It is a summer movie, we'd like to include a few flares here and there when its sunny. (Is it a good idea to fake them with a mirror?) I'm looking for some advices in exposure, filters or even postproduction to help me achieve the look we are looking for. I've already planned to try to overexpose a little bit and to use black pro mist filters, but I am curious to hear how others would approche this look, what else do you think I shoud test before the shoot? Thanks in advance, Marie
  5. Hi, I shot a film in super16mm and we're finishing it in HD. We opted for the Apple Pro Res 422 codec. Does anyone have any info that I should know about this codec? Is it looking far more different than QuickTime Uncompress HD 10 bit (which is to heavy to edit on a normal computer)? Thanks for your advices and concerns!
  6. Hi I heard last year that the RED doesn't like being in the cold because of its fans sucking up the air. I don't know if they have solve this problem yet, but I think you should verify. good luck, Marie
  7. Thanks for all your advice, they were very helpfull! I finally chose the F900 and I found a really good deal for post after all. As it is, in fact, for theatrical purpose, I guess it is the best choice for the project. marie
  8. Hi! First of all sorry if my english is not perfect, it isn't my first language... I am a young DP, just starting my carreer, and I would need some advice. I am shooting a short soon in HD and we hope to tranfert it in 35mm. I have been offered a great deal for the Sony F900, but I was wondering if I was better to go with my first idea, wich was to use the panasonic HVX200 (720p 24pN) with a pro35, to get less depth of field and to have an image closer to a film look? thanks a lot, marie
×
×
  • Create New...