firdaus

i have used panasonic p2hd ajhpx 3000 with cine lens adapter angeniux with ultra prime lens.

then i have trouble about focus. i always have the different from my measuring tape than view finder..this happen in 25 feet to 60 feet above..

when i mesured 26 feet than i check in view finder the object can focus in 60 feet..

i think this is about back fokus in cine lens adapter..

i hope anyone can share how to check back fokus in angeniux cine lens adapter and in digi prime lens..thank before

regard

daus/1st ac

Good evening, firdaus. First off, please change your display name to your full first and last name as per the forum rules.

 

The field of view shown with a given focal length will change depending on format. For example a 35mm lens on spherical 35mm will have a horizontal angle of view of 33.4º. Put that same lens on Super 16mm and you get an angle of view of 19.1º. Furthermore, put that exact same lens on a 2/3" inch video camera and you have an angle of view of 15.6º.

 

Each format is just using a different part of the cone of light projected by the lens.

 

I calculated these numbers with Panavision's Image Calculator. There are also tables with this information in the ASC Manual.

thank you very much chris, now i can use the panavision calculator..thank's

firdaus

my question :

if i shot film 16mm or sony hdcam with lens for 35mm (eg.50mm) do i have the same FOV than film 35mm with 35 lens ??

anyone can help me explaine and the formula to calculate about this..thanks

best regards

arrrrright..........

 

how can we creat steady-cam like effect(if we dont have the steady-cam) while doing handheld?

i think to minimize jerk while you handheld is sport.eg. jogging or swimming to training your breath

or you can take yoga class...in indonesia i know some DP that can handheld 535 with 1000ft mags in with very good way..sport is the answer

For these things testing is quite important, but yes, you want to underexpose. The question is to what degree. Wikipedia mentions this:

 

"Day for night, also known as nuit américaine ("American night"), is the name of a cinematographic technique to simulate a night scene. Mainly intended to avoid costly (and technically challenging) night filming, outside scenes can instead be shot during the day, with special blue filters and under-exposed film to create the illusion of darkness or moonlight. Lighting the characters two to three stops more than the background also helps the effect, but doing so requires powerful lights to compete with the sun. Many of the night scenes in the film Jaws were done this way.

 

While this technique has largely disappeared owing to advances in film technology and increasing viewer expectations, it was recently used in the 2007 film 28 Weeks Later, due to the impossibility of shooting in an entirely dark London.

 

Interior day-for-night shooting can be more time consuming and labor intensive. Grips need to cut all the daylight entering onto set. If the scene is "blocked" or staged away from windows or other openings to the outside, the light may be simply blacked out with cloth or plastic sheeting. However when windows or doors are seen from camera, these openings must be "tented" to allow some exterior dressing to be seen.

 

While never fully successful in creating "realistic" night, the special visual style of the American night nowadays has many fans among historic movie buffs, thanks to its frequent use in early B-movies, Westerns, and film noir. Day-for-night shooting seems to have become more common in recent years which goes against the trends of a decade ago."

 

 

However, getting your people 2 or 3 stops brighter than the background (which is what you'd underexpose) is probably outside your means (else you could light up night for night!). What I would recommend would be underexposing the image for around 1 and 1/5 stops to 2 stops but keeping the talent a bit up and hit with slightly harder light, have them only go under by around 1 stop. A blue filter will really help. If memory serves, Tiffen makes a day for night filter already, but I have never used it.

Another option would be to use Tungsten stock without fully correcting it for daylight balance, such as can be achieved with an 81EF filter, which will 1/2 correct.

If you can't get your hands on some negative stock to test, you can mickey-mouse it with some still film just to get an idea of how negative will react to under-exposure, but I strongly suggest testing the stock you'll be using.

ok thank's very much about your answer...

i will try that way.

thank's

firdaus

If it's day for night, the slower the ASA the better as the less ND you'll need in front of the lens. Part of the "effect" is the shallow DoF you'd use when shooting night for night. . .

if i shoot with ASA 50D then when i read in my lightmeter f-stop 11..

i use nd 9 to make my t-stop normal is 4..

better i shoot in t-stop normal or i underexposed??

if i shoot underexp. how much -stop??

thx

i want to shoot ext. scene in town with day for night technique....

i will use 16mm but i dont know wich ASA better for this technique and

what i have to prepare to make it???

thank's very much to help me solve this problem..

best regards

firdaus

hi scott...

i'm often work with 35mm up on 16mm..

so i dont care about the CoC because just meke me confuse...

i only depend on my american cinematographer manual in DOF table

dont make your self headache about too much formula...just measure the actor and trust your self

succes for you

thanks

daus

hi chris.

i think dvc pro 50 is a good choice..or you can make another choice about camera.

but the most important thing is the way you make your film..

in my country indonesia where the equipment very expensive we make our movie with any camera eg. panasonic p2 or dvc pro.

i'm very sorry if my answer and my english very bad..i'm just happy to join in this forum :rolleyes: :rolleyes:

thx

shutter