Jump to content

Patrick Kaplin

Basic Member
  • Content Count

    45
  • Joined

  • Last visited

  • Days Won

    2

Patrick Kaplin last won the day on March 7 2018

Patrick Kaplin had the most liked content!

Community Reputation

4 Neutral

About Patrick Kaplin

  • Rank

Profile Information

  • Occupation
    Cinematographer
  • Location
    Ottawa, Canada

Contact Methods

  • Website URL
    http://www.patrickkaplin.com
  1. Wouldnt it be more efficient to use the 2k as the red source since its already closer to that part of the colour spectrum? Kinos could then be daylight balanced plus a bit more blue.
  2. Im very curious to see anybodys suggestions for this. Personally, I dont really see how it can be done. You would need an enormous amount of negative to create that level of contrast in daytime conditions. If the budget issue is due to renting a big genny/condor/big fixtures, maybe a different approach would be to scale back the coverage to tighter frames and rent a smaller genny/lighting package to only cover those frames. Godspeed, its quite a challenge you face. Please fill us in on how it went.
  3. Personally, I've never used a thermal cover. I find the camera's internal temperature runs so high that heat dissipation is actually improved in colder temperatures. However, I suppose it couldn't hurt, but I wouldn't always consider it a necessity. I've shot Red Epic in -36C without a thermal cover with no issues. Care must be taken for the LCD screens though. Handwarmers and rubber bands are good friends. One really important thing to be aware of is lens lubrication. If you don't winterize your lenses, you can expect to have some issues with remote follow focus units. They may not be able to provide enough torque to properly turn the lens at those temperatures.
  4. Hello, How much for the Zeiss Classic ZF2 set? Thanks,
  5. Thanks for the suggestions Sanjay and David. Rounding the edge of the aluminum sounds like a good idea. Unfortunately it'll be a docu environment, so controlling ice quality will be pretty difficult. I'll try to grab my shots within the first 15 minutes of the Zamboni passing. Cheers guys.
  6. And also provide the most stability at high speeds on the ice
  7. After watching it in a higher resolution it appears to be a wooden base. Any idea what would slide better on ice, wood or aluminum?
  8. I have a shoot coming up where the director wants to have a camera sled on ice. I'm wondering if anyone has ideas about how the base of this rig is made? It appears at 3:16 on this edit. I know the top portion is just aluminum bars attached to the top handle of the Alexa, and that a wedge plate is holding the camera. But I have no idea how the wedge plate is attached to the base and what the base is made out of. If anyone has any ideas or suggestions I'd love to hear them. Cheers!
  9. Hey Kevin, I think this is something you'll have to test on your own for the exact differences between bulbs. Once you find the one you like just order a whole lot of them. Generally any cheap fluorescent with a low CRI rating is going to give off some green light. If you take a cool white with a terrible CRI and shoot on a tungsten balance then you'll get that cyan colour. You can also modify slightly with 1/4 and 1/8 plus green gels, try using 1/4 plus green on a daylight Kino. This way you can use some conventional units for modelling if you wish and keep the same colour. All in the testing.
  10. Also, if the budget allows, 1x1 LEDs can be quite handy and are quite compact.
  11. Which country will you be filming in? Bring a china ball with daylight photofloods and some incandescents with a stinger and paper tape. Hardly takes any space and this way at least you'll have a nice soft key for interviews. Use existing practicals for background and maybe even cheat some for rim light.
  12. I'd suggest, if you haven't already, checking out the special features on the Moon DVD. They could only afford a motion control rig for a certain amount of days and could barely fit all the shots into the schedule. For simpler moves and pans, a trick they used was to do the take with Sam #1, then once they were happy with the take, playback would send a half opacity version of the selected take to the operator's monitor, where he would practice the move in the selected take repeatedly. The operator practiced while the actor was getting changed in wardrobe/makeup to his second character. When Sam #2 was ready, the operator would follow the moves from the previous take during the new take. That was the basic idea, and it's been awhile since I've seen it. But it essentially worked as a poor man's motion control rig. You could try contacting Gary Shaw, the DOP for Moon to ask about any caveats to using this system.
  13. Hello, I'll be directing a short film this August where the climax of the film will occur during a house fire. I have a general idea of how I want to approach this but wanted to ask a couple questions and seek advice from others who are probably better versed in this than I am. I want the scene to feel very disorienting and visceral. The fire will occur in the protagonists living room and adjacent dining room. Whole scene encompasses about a page and a half of the script. Planning on shooting quite tight, no wide shots to make it easier to fake the fire. The plan was to get a smoke machine to obscure as much of the room as possible. My first question, it seems like from my research of house fires the smoke is often white in color. However, having fortunately escaped from a burning building myself I remember the smoke being quite black in color. From my understanding there's not really any way to modify the color of smoke from smoke machines, so should I simply count on flooding the set with as much white smoke as possible and hope that using enough negative fill will give the scene the dark disorienting look I'm after? Or is there an option I'm unaware of to get black smoke from a smoke machine? Does either option leave lots of residue on the walls and furniture of the set? Second part of my plan was to use interactive lighting rigs to simulate flickering fire. Haven't drawn up exact plans for these yet and not even entirely sure these rigs would be necessary. Thirdly, I was planning on obtaining three 4' propane bars to hide in the shot and to create flickering flames in front of the lens. From those experienced with using propane bars, would I be able to substitute my fire-lighting rig with just one of these bars for lighting? Have never shot with these before, so any general advice on their use and safety would certainly be welcome. I've yet to consult a sfx supervisor for this as I wanted to do a bit of research on my own first. But rest assured a qualified technician for the propane bars would be on set as well as full cooperation from the local fire dep't. Finally, should I be completely ruling out the possibility of shooting this on a practical location? We're still in the early stages of scouting right now, and still looking for an empty house that could be used. Should I be counting on shooting this scene on a constructed set? Please let me know of any experiences you may have shooting scenes like this. Am I stretching the abilities of these instruments too far to create a realistic burning interior? Thank you all very much!
  14. Anybody know the technique in post for achieving this digitally? I know Slumdog did it shooting on a dslr at 12fps then step printing back I believe. Anybody know the method for achieving this in a standard NLE shooting at a lower frame rate on a RedMX for example? Or when you shoot on a RedMX at a lower frame rate on a 23.98 time base does it achieve this automatically?
×
×
  • Create New...