srsaat

hi tim , Thank u for your valuble answer actually what i am asking is which is the best way and in which way we can get dramatic final output. thanks n advance, srsaat.

hello everyone, Very soon i am going to do a project. In which i have a seq of clif jumping. What we planned to do is close ups , mid shot, mid long shot are all doing in real location background. In foreground we planned to put a set of 10 ft. hight clif. Long shots, extreme long shots and motion control move of extreme top angle shots are all planned to do in set with green background. but here foreground clif set hight gonna be 6 ft due to my shooting floor hight. Here in general two clifs distance is going to be around 7ft. depth of the clif is what we are going to create in 3d like more and more depth. so which is the best way to create this seq. look extordinary. shoot all seq. inside the floor with green background or mixing the real location shots with green background shots.(in here i can able to finish my max. seq with real loc. itself ) what are all the do's and don'ts? (if u guys say both is ok ) what are all the lighting problems will arise? so herewith i attached one shot of my clif seq. story board so u guys can clear what i m asking. if i know the clear and perfect thought of this situation will somuch helpful for me. thanks in advance, srsaat.

hello everyone, Very soon i am going to do a project. In which i have a seq of clif jumping. What we planned to do is close ups , mid shot, mid long shot are all doing in real location background. In foreground we planned to put a set of 10 ft. hight clif. Long shots, extreme long shots and motion control move of extreme top angle shots are all planned to do in set with green background. but here foreground clif set hight gonna be 6 ft due to my shooting floor hight. Here in general two clifs distance is going to be around 7ft. depth of the clif is what we are going to create in 3d like more and more depth. so which is the best way to create this seq. look extordinary. shoot all seq. inside the floor with green background or mixing the real location shots with green background shots.(in here i can able to finish my max. seq with real loc. itself ) what are all the do's and don'ts? (if u guys say both is ok ) what are all the lighting problems will arise? so herewith i attached one shot of my clif seq. story board so u guys can clear what i m asking. if i know the clear and perfect thought of this situation will somuch helpful for me. thanks in advance, srsaat.

HELLO EVERYONE, In short period i m going to do a project. In that project i am going to use 5218stock. Here i don't want to use convential blue feel. I need something more different. so i decided to do it with some dino lights. I think it cover more area of the my location. bcz more of my locations is more wide and bigger area. More than that maximum night effects with rain effect feel. Here towards climax all is rain effect seq. as per my story end of these seq. i feel like use blue backlight and tungsten filled face, for this i cann't afford with 2or3 par hmi. so i planned to use dino itself. but according to my blue feel concept i think i cann't achive in there. so can i get same feel in timming sesion. And how these above seq. look like ie., with 3 or 4 dino tungsten lights? is that looking good? is that cover more area? what are the problems will rise using these fixtures on rain effect? is there any precations? what are all the possiblities to get good diff. night rain effect seq.? And if somebody helps me with the reference of some good night rain effect film will more appreciatable. ADVANCE THANKS FOR EVERYONE, srsaat.

hello everybody,, Tommorow i have a samal shoot, in there i have a night effect in which artist going to be work on computer monitors and xerox machine.. Here i feel to lit face light as coming from computer monitor source and xerox machinetravelling source .. Any different kind of style can i able to maintain? How come i achive this by using my small lighting package?? i m using 5218 filmstock.. Thx in advance, srsaat

hi john, thank u for ur answer and then actually that i color variation i know the thing is what is the temp. of that hours.. say darkest dawn or slightly dawn... like this.. if i know this it is helpful for me.. thanx again,, fincher

hi to everybody, As we know that sunrise and sunset color temp. is around 2000 degree kelvin . What would be magic hours color temperature? IN magic hours even don't have much light and how come one should read the temp. of magic hours?? advance thanx for all valuable answers thanx,, fincher

hello everyone,, soon i am gonna do my first project. In this i have one flashback sequence, i m decided to do sepia toning.. To do this effect what are all the possiblities and what are all the things i should keep in mind. guys this is very small budget film so i cann't go for big cost lab process so pls kindly tell me other ways by using filters and doing by lighting. I am gonna use 5274 and 5218. And give me some examples of sepia toned film with effects. and also with sepia toning i want a feel of high contrast and slight grains and good depth by working under tstop--8 (interior also) Is that depth of field thinking of mine (working tstop 8) is correct or not or how could i get that feel? Here we got sepia tone filter 1.. is this will give me correct color what i want? if not means which filter is best choice? Push process by one stop and underexpose by 2/3 stop, is that correct choice for getting grains in 5274 emulsion?? thaks n advance, srsaat.

Hello everyone, Recently i have seen a MORACCO film named JAWHARA. (Jail girl) Directed by Saad chraibi and DOP of that film is Kamal derkaoul. Really i wonder guys how they did such nice realistic lighting.. Good consistency they have maintained throught the film. Intereior work all superb. How they did?? and what lenses and stock they used on that particular film what was the exposure ranges? is that film undergoes any lab process. above kindof work i can able to see on late conradhal's work on AMERICAN BEAUTY and Darius khondiji's SEVEN. but in seven somany lab process went through. but above morocofilm i don't think so.. guys pls if anybody know about the film technical details kindly forward me. where can i get that dvd. IN asc store can i get?/ thanks n advance,, srsaat

hello david and othermembers, Thank you somuch for these detailed explanation. ofcourse david made a big vibration on me. :rolleyes: guys anybody knows which is the best site regarding these information other than that widescreenmuseum.pls forward me. and except acmanual what are all the books is useful? thanks n advance, srsaat

hello mr.david, Thank u somuch for such a great answer but one thing i cann't understand ie., in normal 35mm formate using anmorphic lenses how the soundtrack area will covered in film? while in super-35 how it is not covered and that area also get exposed? and then we make a room for soundtrack in post. thanks, srsaat

hello everyone,, 1. In AC manual ,8th edition there is one topic about comparision of 1.85:1 and 2.40:1 ratios. Here They gave a Tajmahal frame as a example.. hereFig.1 is for scope formate, then in fig2 they drew two rectangle portions of 1.85:1 formate. I cann't understant what is for bigger rectangle and for smaller rectangel.. Is there Two fromates of 1.85:1? Sorry for these question realy i cann't go threw. 2. In projection normal lenses is enough to show the 1.85:1 formate film? menas or we need to use biggermagnification lenses? bcz in indian made 1.85:1 films are shown in theatre very small not like holywood film made.. so i wonder any different lens using over there are normal 35mm spherical lens. 3. For eg. catch me if u can is the made by above formate while seeing in indian theatre i can able to see bigger images but the same we made 1.85 formate is not look like that it is looking too small in screen.. so i wonder is that any changes in filming lenses or projection lenses.. thank u somuch for u valuable time,, srsaat.

Hello every one,, 1. In super35 formate How sound track area also get exposed? Is that with out masking of soundtrack area? If so how come soundtrack get masked? 2. Can we use full frame to compose the images?If so is there any problem of TV transmission?? How the marking will be in s35 fromated camera? 3. Except spherical lenses and 35mm film what is the new fittings for s35 shoot in arri 3 or arri 435 ES camera? (is there any change in ground glass and gate) 4. While exposing can we see the scope frame through the viewfinder ? but recording happening in unsquezed formate ie., normal 35mm. how come we can able to see the scope images without the anmorphis lenses?(using carlzesis spherical lenses- most of 35mmfilm in india using this lens) 5.AT last while release print time we are optically reducing to the squezed image to set sound track area.. now how come we do contact print with pos.col neg and dupe neg. of s35 formate. What process is going on?/ where it happens in lab or in optical printing area?/ guys sorry for a sucha long question , really i m confused somuch on this. if i came to know above quesions answer really i m very clear on this formate.. kindly spent u r valuable time for me and let me know nice things.. thanks for u r time, srsaat

hi vetri,,, Really it's a good movie..have u seen their cutting style that was inspired me lot.. u know even though it was a action film,, somany place they have smooth cutting that means it was not irritate u r eyes.. Then i m also think about that glass matter... i think they may used the glass which has 50% reflectence and 50% transmitance. so that only we can see the both images sharp.. and clean.. the same class which i said above used in THE EXORCIT film.. by owen roizman.. if u know more about that reply,, bye, srsaat..