bogdanovici barbu

hey, guys! so this is a photo of the hat(minus decorative elements). it looked like this yesterday, in the mean time i demanded that the whole hat needs to be opaque. working the ornaments/top of hat in CG isn't really an option because there-s no budget for this. Mind you, this is a really low budget shoot.

hi guys! I have a question about shooting a specific scene in wich a over-the-top fashionable lady will appear at a garden party, and after she catches the eyes of everyone participating, she gets attacked by a pigeon - she'll be wearing a big overdecorated hat that the bird is supposed to mistake for a nest(ha-ha). Now, the bird will be CG, this turned out to be the best option. the whole scene will look as if it's shot by one of the invitees- via smartphone. This being my fist project involving CG, i'm pretty unsure of the elements that I need to address. So I was thinking that after we get the clean shot, the hat will need to be shot independently on a blue screen, also some of the decorative elements of the hat will need to be shot independently so that they could be layered on top of the pigeon that lands on the hat. markers/trackers will need to be added. I'm deffinately missing things I must be doing, so any inpunt on the matter will be of great help to me. Thank you! B.

Thanks a lot Simon. You might be right on this one - meanwhile i've learned that this particular camera having a 4k sensor and 1920:1080 output, the math is basically 4 pixels on the sensor output 1 pixel of image. These 4 pixels are as follows on RED one BLUE and TWO GREEN. So I think this is the main sensor ”feature” which causes the green tint. Thanks again!

Hi guys! A while ago I shot an advert with my friend's C300 and on a couple of shots the image had a green-ish hue. It wasn't that bad and we were able to fix it rather easily in CC. A week or so ago, my friend shot a video (using his C300) and he had the same problem only it was 10 times worse. He was shooting in a „golden” room and all that gold turned out to be a pretty sick green, which wasn't that easy to correct. Both situations were tungsten lit(no color filters, only diffusion), and shot through the same set of old Zeiss High Speed T1.3 lenses. So.. is it be the camera, or is it the glass - in which case, can chromatic aberration go as far as turning gold into green? Could it be something else?? Any input on the matter will be much appreciated! Thank you!

Thanks for clearing that out for me, Stephen. Appreciate it!!

HI there! I just saw a clip that included some BTS shots, and i stumbled accros a camera rig that I have`nt seen before. This is the clip, right here, and the "accessory" in question can be seen at 07:35, 08:40 - 08:44. http://www.cinemagia...r/skyfall-8220/ Thank in advance for everyones` input on the subject.

hi guys, I have a project coming up and my main concern about it is the control over exposure. it's going to be la long P.O.V. and during this shot the main character will be walking from his car, then into a garden and then into his house. Basically the camera will see a lot of different light spaces in which the T stop suddenly changes from ,let's say, T4 to T16/22. Is there any way I can have remote control over the aperture whilst shooting? We are using a EOS 5D with standard EF lenses.

i agree with Collin, smallHD is a nice little gadget and dosen't cost as much as the marshal monitor.

Well if you have any other thoughts on an alternative camera system, please share.. And a wireless follow focus will be rigged on the helmet as well; in my last post I didn't say that wireless motors aren't going to be used, just that we can't use one for the iris.

we'll just have to find a way to "blend in" the cuts between the clips and right now, eye blinks is what comes to mind. still regarding the motors we' ll be using standard Canon EF lenses which don't have a aperture ring.

hi guys ! i have this project coming up, it's a feature film that will be shot with a 5d (standard, not modded for positive lock lenses). the whole film is basically a p.o.v. of one man. my main concern regarding this project is about the exposure. i'm having quite a hard time figuring out how will I control the exposure if let's say the guy is driving his car and then gets out in the scorching sun then walks into his house etc. the camera will be rigged to a helmet and i don-t see how i can awork the on camera controls.. are there any third party softwares that will permit me to remotely control the exposure parameters ? thaks a lot guys !

Hey guys ! Does anyone know how Benoît Debie might've achieved the POV shots from this feature?! It dosen't look like handheld work nor steadycam. Still looks very realistic and organic-movement wise. I am especially interested in the first part (15-20 minutes) in which Oscar walks around the room / lays in bed, then gets up.. So far I've learned that these shots were filmed with a 35mm camera ( Arricam Lite). Someone who knows anything else about these shots ?!!?

Mathew, thanks a lot for the link, it was an interesting lecture at the least. But still not getting closer to the point of this discussion. DARN !:)) I really hope I can find some solid info about this.

I am especially interested in the first part (15-20 minutes) in which Oscar walks around the room / lays in bed, then gets up.. all that - I can't really imagine how you can "handheld" those shots; be it heavy post. A body mount crossed my mind but seems very very complicated with a 35/16 mm camera. I haven't been able to read the AC mag, haven't got a subscription... Anyways, if you have any more info about the matter or if you could tell me more about how handheld work could replicate that, I would most appreciate it! Thanks a lot, Mathew, Cheers !

Does anyone know how Benoît Debie might've achieved the POV shots from this feature?! It dosen't look like handheld work nor steadycam. Still looks very realistic and organic-movement wise.

Hi! Although you've provided with a pretty detailed description of your shot, I'm affraid you need to be more specific about the areas where you think you need help/advice.

a friend told me that it's bettet to use T/S lens than a lens baby though I'm not aware of him having any experience with either. I think it's best to test them both. I know about the film and am a big fan of Kaminski's work, but I haven't been able to get any solid info regarding his work on those shots; what I do know it that he used T/S lenses.. I know the effect can be achieved in post, but I really want to do it myself. Thank you for the swift reply, Jeremy. !f anyone else knows something, do reply.. tank you !

Yes, you're right. We're pretty much putting our money on overcast skyes - window on the sunny side of the hotel. Regarding you advice, I would've never imagined such a simple solustion (at least ,to me, it seems simple). I too have thought about combining color temps, but still I don't think it's enough. Anyways, greatly appreciate your advice, Mike. Other ideas, anyone?!?! Thanks, Bogdan.

guys, I am about to shoot a POV of an old man that is awakened by the burst of light coming through the windows. I will be shooting it with a 7D. Now, the effect I am interested in achieving [in camera], is the old man's blinking to the strong light that hits his eyes(camera) with blurs and all.. I am yet to test a tilt/shift lens which I think will help me with the blurs, but still have no idea on how to trick the eye blink. I am trying to get as close to this as possible : http://www.youtube.com/watch?v=37K9uJouIAA first 30 or so seconds Thank you, Bogdan

Right, just returned from the location, I think it's one of the smallest hotel rooms i have ever seen; it's around 10 by 10 feet. It 'll be the POV of a man who is laying in his bed, and he follows his girlfriend as she walks/ dances around the room I intend on using a 7d, on this project, and regarding lighting equipement i have access to a 1.2k, and 575W HMI Fresnels some kinoflos 2 and 4 feet[4 bank and 2 bank, with dailignt and tungsten tubes], a 2k and a 5k Tungsten Fresnel.

Hi guys. I am about to shoot a music video as a school project. It will be a single shot,(POV); the camera will be preaty still as well, so I am looking for various effects ,lighting wise, I can use for the background. The director told me a couple of times that he wants me to create something as close as possible to "sun being covered up by clouds and then coming up again", and I am pretty stuck on this one. any thoughts on how I may pull this one off. Also, other ideas are more then wellcome. The location is a hotel room (real one, not studio) and it will be a daytime shooting. Thank you, Bogdan

You might also consider using the M-R MoleBeams. these are specially designed light souces for creating stong light shafts. Good luck.

Well it depends on the direction you are going; the overhead butterfly ,I think, renders a more commercial-ish look on the car, you can also add some kinoflo tubes on the ground creating some nice highlight lines on the cars curves. On the other hand if you are going for a more realistic touch, you might want to go for some street lamp effect. That's what comes to mind at the moment... if something else strikes me, I will let you know.

allright, i really appreciate the fast posts ! thank you! i think i`ll check out both of the situations ( on camera practical, and light bounced off the ceilig). thank you again, and till next time, take care !

hello, i'm a film student in bucharest, romania and i came across this dilemma. right, so the room wich i am going to shoot in is going to be a kitchen in an really old house, out in the country; roughly 4 / 4 meters and the ceiling is TILTED at its highest point is about 2 meters high ( at the door) and gose down to about 1.6 -1.5 meters, at the wall facing the doorway. the action will take place at night, so light thru the windows and doorway is pretty much ruled out. i don.t see how i can hang any top lights as they would be in the shot will appreciate any thoughts on this matter, thank you kindly ! Bogdanovici Barbu