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Ozgur Baltaoglu

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Everything posted by Ozgur Baltaoglu

  1. Hi everyone, I need some help figuring out the parts of this VF set-up: I recognise the standard Kish optics VF and there's a Modulus transmitter attached but the other parts I can't tell. Does anybody know/ use this set up? Thanks in advance.
  2. Hello everyone, Technocrane is a great tool, and I try to use it whenever the logistics and budget allows for it. I recently shot a commercial on a soundstage in Istanbul where I had to hang actors on wires where they would spend the whole day so Technocrane with a zoom was an obvious choice. I could be versatile and fast. I designed a shot where we did a straight pull back from a window over a sofa. The lens was 25mm. The distance traveled was about 6-7 meters. The problem was that the beginning and end were too shaky. We talked this over with my DOP and the conclusion was that eith
  3. the following is an approximation: 1 lux= 0,0929 fc 1watt= 58 cd (candels) 1 fc =(app.) 10 lux for instance 1K @ 10 meters @ ISO 500 gives little over 50 lux = T 4.2 / T 4 (@ 24fps / 170 Shutter ANgle) Ofcourse the formulae don't guarantee good cinematography ;)
  4. Hi Phil, 9-10 days (including prep) starting on the first week of July. THe dates may change although not too drastically. Ali
  5. Greetings to all members: I?m looking for an experienced lighting cameraman (preferably from Europe) for a video short film which I will be directing in Istanbul. It?s a true low budget short, meaning it?s not no-budget like most of its kind. Unfortunately I can only cover travel and accomodation expenses. - Prepping will begin mid June and principal photography early July. - Experience with mini35 required. If the dates suit you, have never been to Istanbul, are enthusiastic about making new colleagues please e-mail me (baltao42@yahoo.com) regarding your experience and I?ll
  6. Once you rule out a format as having an inherent aesthetic value, you tend to categorically compare the technical aspects of two different forms of a technology. This results inevidably in one format being superior and the other inferior; if it didn't there wouldn't be any point in comparing them in the first place. This comparison anchors the generic ideas around the argument. Film has more resolution, more depth of field, more color depth, highlights, shadows etc. so it is definetely - in a modernist sense -"better". What this "better" is, is hardly ever argued. One thing is utterl
  7. BTW whats the EI of an IP and/or IN stock? I'm guessing it should be really slow, and this must make it a useless stock for cam negative. Unless you're orbiting the sun and trying to film the sun spots. ;)
  8. During a DV short I shot for a fellow director, I had to request the monitor to be removed from the set because I was sweating behind a PD150 while lining up the shot and lighting and watching for flags and stands in the frame on an almost thumbnail picture, the crew on the other hand got carried away and began discussing my lighting, I was patient because they were all friends and didn't mean to tell me how to do my job. It just happens so that when 5 or 6 people sit infront of a monitor they naturally begin to talk about what's on it. A film set isn't a democratic environment and nor sho
  9. And what happens when the director describes the shot? Does he talk to the operator directly or say it through you? And is there a quota of shots which you can steal from the operator? I'd feel strange to make an explanation to operate a particular shot... What if the director wants to operate a shot? I think the question is should there be a rational reason for anybody other than the operator to operate? I'm glad we don't have this restriction in Europe! What's the situation in UK, anyone?
  10. It's discrimination! Very self conflicting aswell. On one hand say you're against censorship, on the other suggest that only a certain group of people should do it. Films in general do not require intellect to be viewed especially not when it is possible to be offended by them. I am not pro-censorship, but let's face it. It is inevidable. Representation is key here. A society is't made up of only professors and engineers and artists.
  11. Very well suggestions. You can always have curtains partially covering the windows since you dont have a backing and blowing out a big and completely naked window can be disorienting (Unless it's The Shining) and most importantly it may look artificial. Even when it's white hot, when you overexpose trace paper on a window it looks like what it actually is, you see the material blown out . In reality it is the sky further back that is hot, light behaves differently at such distance. Wether the window will be an important part of your composition and in focus are important factors. You may depen
  12. I think the explanation is that he and his crew likes to push the envelope. They are pushing the medium, exploring the boundries. I think he would have even convinced the studio to shoot the whole thing with a CannonXL1s if he could (!). I'm sure they did not save millions of dollars by not shooting on film, or by not renting Panavision cameras etc. Just think of the harddisk space they needed and the modifications they needed to do. I am not a "true" fan of the saga. But I admire his vision and soul of innovation. BTW did anyone see the film in digital projection?
  13. Hello all, I'm beginning principal photography of a short video production. It's b&w and has a silent era aesthetic. I have watched films of the period and did some research on B&W cinematography. However these are all concerning film. I will shoot in color at regular speed and speed it up around %25 in post and convert the image. I did some tests with makeup and wardrobe and realized that the poor contrast range of PD150 (most probably any other dv cam) gets poorer when the image is converted to bw. Relatively higher contrast of the color image decreases since I eliminate color co
  14. That's truely pathetic. I have encountered strong egos of the sort but at least they had some talent and knew something about cinematography. I think you did the right thing after all. I admire your patience. I doubt that this multi-purpose filmmaker (if you can call him one) will make it. Good luck on your next job!
  15. I guess you can find 'em in almost any lingerie store. Enter on your own risk!
  16. Why is Moore so obsessed with Bush and his administartion? Other than the reasons (regardless of the fact that they may not be based in reality) stated in F911, I recall an episode of the awful truth in which Moore approaches George Bush who was then a governor, and tries to corner him by throwing some provoking questions at him and the annoyed Bush, amidst an army of journalists and partizans, dodges the questions by replying; "Get a real job!" No wonder Moore made it personal. Anyways, Moore if you ask me, is overrated. The grandprize is a political gesture. BUt even though he may n
  17. Hey David, how many stops did you over expose the griflon? I'm guessing 3-3 1/2...one more, what stock was it?
  18. Congrats Greg I wish you and your wife all the happiness. And Mitch- what a great feeling it must be- congrats and may she have a healthy and happy life... Ali
  19. Congratulations on a well deserved title David. I hope we keep hearing from you as often as we did.
  20. Blue Velvet (D. Lynch) has perfect Hopper mood! Most of his work does.
  21. multi camera seems the best way to go if you can. If not, you'll need to have a master of the most of the act or all of it to be safe (so the editor can cut to give reference or fix problems). Then you can do pickups of different scales CU's MCU's whatever... My advice is go to the rehersal and tape the act and then you can decide on your coverage more efficiently and cover the scene in a shorter amount of time and set ups and you won't tire the dancers. Good luck!
  22. It is ironic... we are so kind when we talk film stocks and fstops but we seem to loose our sense of politeness and start labeling and pointing fingers when it comes to politics. Quite Dr.Jeykllesque.
  23. It seems that the decission has already been made... anyway, here's what I think: even though this is a cinematography forum I believe there may be issues other than cinematography to discuss or info to share that with which we may not wish to occupy other forums. If we stick to the true sense of the phrase "off topic" we'll make better use of this forum. SFx is as much off topic as politics...
  24. Try to make just one 3 min. film and find out...you'll be surprised at the amount of things you need to learn.
  25. hi ASOM, Question: How does the dv cam receive the image from the still cam? and how does it affect the fstop... I'm betting it's somewhere between the lens' and the ccd's... If I were to make this rig myself what would you recommend? The rig seems a bit limited to movement... dpes pan and tilt give you trouble?... any technical tips? The stills you put up look sharp but they're small, are you pleased with the quality of the final product... Focus pulling? I'm sorry I bombarded you with questions but the rig is inspiring, at least to me because I cannot afford 35 cameras and if I
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