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Daniel Tan

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  1. Hi, I'm selling my DVX100B. Excellent condition. 53 hours on the recording head. I shot three short films with it and is going HD at the end of the year. Package includes: DVX100B Power Adapter CGA D54 Battery Manuals Barry's DVX handbook Hoya UV filter Tokina ND8 filter Camera Bag $2100 OBO. I'm in Los Angeles area. Thanks for viewing. Email me or call for question or arrange a time to check out the package. I can ship to other states too. dushifilm@gmail.com or 818-576-9183
  2. Hi all, I'm shooting a scene where a 16mm projector is running in the back ground and the projection is serving as a kicker light for a character. I'm shooting with DVX100B and I want to have the projection light flicker. I would think this is a shutter adjustment so I tested out with different shutter speeds from 1/12 to 1/1000. But there was no flickering in the light. How can I make the flickering happen? Please help. Thank you. Daniel
  3. Hi all, I read a lot of posts regarding the IRE setup on DVX100 as well as on the monitor. I just want to confirm my knowledge about the topic by writing what I understood. 1) Regardless of whether you set your DVX100 to '0' or '7.5', the recorded black will still be the same signal that carry black at 16 Lum. 2) If you set your DVX100 to '0', then your external calibrated monitor say a Sony PVM-1344Q should be set to '0' too in order to show the correct black level you're exposing. Same if you set your DVX to '7.5', your monitor should be set to '7.5' too. 3) Now if you play back your footage straight from the DVX100 to your analog NTSC North America TV, it will look darker than if you play it on a PAL TV. 4) Now, if you bring your footage to a post house for conversion to NTSC VHS, the process will 'compensate' for the 7.5 IRE. And when you bring that VHS back to the same NTSC North American TV, the black will be at the right level and not as dark as before. Is all these making sense? Or am I wrong? What I'm trying to make sure is that I've the right IRE settings for my camera and my external monitor. Thank you.
  4. Hi all, I'm shooting a short film on DVX100B. There's this glidecam shot during the day that travels from the living room to the bedroom. In the bedroom, there's a kid running around but he's sort like a ghost, a fading image. If this would have been a still shot, I could just shoot two seperate scenes - one without the kid and the other with the kid - and blend them together and adjust the opacity in post. But since this is moving shot, I could never achieve the same move if I do two takes. Is green screen the only way to do it? Unfortunately, I don't have a budget to go that green screen route. :( If anyone has any other suggestion, please help. Thanks. Daniel
  5. Thanks for the help. I will go ahead and do some tests and see what happens. From the article that I read, they did tried to use a snoot on a Par, I think. I will post some images after the shoot is done. Thanks again. Daniel
  6. Hi all, I'm shooting a short digital film using DVX100B and I'm trying to simulate the 'Memory Light' that Ellen Kuras did in Eternal Sunshine. Mine is for a very short scene, probably about 10-15 seconds. I read an article in cinematography magazine and they mentioned something about using sodium vapor light because of the direction and focus. Does anyone know what kind of sodium vapor lights did they use? Can we get these off the shelf or rent them? Of course I'm using DVX100B instead of film camera so there might be difference. Besides sodium vapor lights, does anyone know or tried anything else that produce the same kind of effects, especially for DVX100? Please help or advise. Thank you. :) Daniel Tan
  7. Hi there, I'm trying to decide whether to shoot some day scenes in Super 8 or just shoot it digitally (DVX100 interlaced) and simulate the Super8 look in post. These scenes(flashbacks) are meant to match with the rest of the film that was shot in Super16. The final format is going to be on DVD and BetaSP. There's a chance that this might be projected in a theatre using DVD or Betasp. I guess resolution wise, film is still better than digital, is it? Also there are two concerns here. Cost and more so on the types of shots that I have. Most of them are going to be panning shots. One of them will be shooting from inside the moving car looking and passing a boy standing on the sidewalk. Particularly, I'm wondering about the post-film look with this types of shots. Anybody has experience or footages that was shot digitally but look super8 after post? I've access to cinelook in Aftereffects. Thanks for any advise. Daniel
  8. Hi all, I'm planning to shoot a short film in May and is trying to find out all the places that rent this camera and do a price comparison. I live in Los Angeles. Any clues anybody? I already check out places like Moviola, Abelcine, 24Dv.net. Looking forward to shoot my film in 720p with only one indoor location in Los Angeles. Is anyone out there who own this camera and is interested to rent it? Please let me know all the details. Appreicate all help. Thanks. :D
  9. Hi, I'm preparing to go mastering onto Digibeta for my Super16 short that was telecined squeezed 16:9. The question is - shall I letterboxed it before outputting to Digibeta or still have it squeezed or do both and get two different copies? My final distribution format would be DVD and digibeta. Does the DVD authoring handle the squeezed or unsqueezed image according to the type of TV used? Thanks. Regards, Daniel
  10. Hi all, I'm currently learning doing some color corrections using FCP, taking this chance to understand the scopes and histograms that are essential to this process and of course training my eye at the same time :). One of the scopes that I'm learning to see is the parade scope. The question that I have is whether is it a really bad thing to have any of the RGB colors crushing into the blacks or is it just a matter of artisitc choice judging from the calibrated monitor. Here's an example: There's a scene where I want to have a warmer look. So after adjusting the constrast and then moving forward to create that warmer look by working primarily with the mids, I saw that the Blue in parade scope is slightly crushing into the blacks. And when I look at the image on a calibrated monitor, it does not look bad at all. So shall I attempt to ensure that the blue are not crushing? Last question....obviously I cannot compare Final Cut Pro Color correction tools to another multi-thousands dollars machine. But how good is the color correcting tools in FCP? I heard about people talking about bits in Color correction software. How many bits is the one in FCP? Does this issue have anything to do with the 4:2:2 color space in Digibeta? I just finished a Super16 short film and is preparing to master onto Digibeta after a flat grade telecine. Since most of the scenes are good to go except for minor adjustments such as contrast, warm or cool etc, so I've decided to do the color correction on MAC in 10bit uncompressed data using final cut Pro. The tools are there...G5, digibeta deck, raids, monitor etc. The film is destined to go to festivals. Shall I be thinking about another route? Thanks. Regards, Daniel
  11. Hi all, I've just finished a Super16 short and already telecined everything flat grade onto digibeta and copies on DVcam for offline. I have finished the offline cut using DVcam and since there is no extensive and only simple color correction left to be done, I deicded to invest in a Decklink card($295), a array of hardisk, rent a digibeta, a monitor and master a copy in Final Cut. Do I need anything else? Another question is about roughly how much disk space I need for a short film that between 25-30 mins with 4 hours of raw footages? I'm running on dual 1.2 Ghz G4 with 512Mb ram and already have a 160 Gig external harddrive. Thanks. Additional info appreciated. Daniel
  12. Hi, I have yet to check with the rental house about the extra asses. needed for undercranking but I will do so ASAP. As far as I know, XTRprod has a bulit in crystal speed between 3-75fps. Thanks for the reminder. Regarding about using my instinct, I guess I can't without the monitor and I have no budget for that area. Is there anybody out there who has actually done an undercranking and meta-speed telecine to achieve such a look? I'm planning to talk to the telecine house to see if they has come across anything like this before. Thanks.
  13. Hi, Thank you for the advise. I will undercrank it and then deal with in post. This is obviously my first time doing it so I am just going to go with my instinct and try it out. Will be a great experience. Thanks again. Daniel
  14. Hi everyone, How can one achieve a bluring effects? I am planning to shoot a couple of night street scene handheld and walking around. I'm using Aaton XTRprod, super16mm, 500D Fuji. I think it has something to do with wider shutter angle. XTRprod offer a range from 180 to 15. Am I correct? Or maybe I can shoot normally and figure that out in post? Any advices? Thanks. Daniel
  15. Hi, Thanks everyone for the tips. I think I will go for the hand gag in front of the light. Personally, I do not see fire as a soft light especially if it is coming from a fireplace with the actor standing in front of it. Also for this scene, a harder light for the actor is probably more suited in terms of drama. Regards, Daniel
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