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    Camera Operator
  1. Does anyone know where I can get raw sheets of Kodak 8mm film. I need to have it cut into 35mm strips for a commercial project I'm doing. Essentially I'm using about a dozen 8mm cameras, as well as 2 35mm cameras, and I want everything to match in terms of image, which is why use the same stock in both cameras. I'm more interested in using 8mm Kodak stock in 35mm cameras, than vice versa. Thanks, Donovan
  2. It's important to note that 2K Red footage shot with lenses wider than 25mm and wide open are soft if the subject is more than 15 feet from the camera. It simply cannot resolve focus, which is a big issue when getting wide shots with the red. As you stop down to 5.6 or 8 or so the image gets much sharper. A 25 mm focal length at 2K becomes a 50mm, so shooting big wide shots with a far off focus at 2K in low light is absolutely impossible in my experience. Shoot 3K at 60 frames, with a slim shutter to minimize motion blur and use AE plugin Twixtor to extrapolate back out to 120fps.
  3. I'm working on a documentary style commercial project where I'm filming one person driving in a car for a long period of time (approx 1 hour). There is absolutely no possibility of a camera car, or anything like that. What I can do is put whatever lights I want to inside the car, provided they don't take too long to rig, ie. more than an hour or two. I'm going to be filming from the passenger seat with an HVX, and will have a two lipstick cameras mounted on the dash, one framing the driver in closeup and one pointed out toward the road. What do you recommend I use to keep the talent lit well, without blowing out the background? Put some kind of ND film on the driver's side window, and a small LED panel on the dash, as well as one in the back seat behind the passenger for backlight? Let me know. Thanks, Donovan Greene
  4. Oh I see. There's a hill behind me and after about 3PM the sun dips behind it, so I have to open my iris wider to get my foreground subject decently exposed, which blows out the background. Unfortunately in this situation no bounces or lighting is a possibility for a variety of reasons. I need to adjust my color balance it seems like, but it's not related to the polarizer. Thanks, Donovan
  5. I've been shooting with an HVX and a Tiffen circular polarizer and it looks great during the day, or in early morning, but for some reason I get a terrible result an hour or two before sunset. The sky changes colors from pale grey to light blue, and I get a light blue halo around my subject, especially when he moves his arms or face you can see ghosting occuring. Attached is an example of the problem. What is going on?
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