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Philipp Kunzli

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Everything posted by Philipp Kunzli

  1. Thanks for the fast response!! Did you recognise any improvment about the "rolling shutter effect". I'm working at the moment on a documentary film and we just wrapped the first two days. I really liked the F5 setup, I just was surprised how bad it handles moving vertical lines... The attached still is a truck passing in front of the camera. It's the back of the Truck and should be vertical.
  2. Hey everybody I was wondering if anyone has experience with sony's official "PMW F5 software upgrade kit"? It enables XAVC 4K & QFHD Internal Recording. How ist the quality and do you think it is worth it? THX a lot for sharing your experience? Philipp
  3. What a day... But that's why I love my job...
  4. I totally agree with you. The FS 7 isn't 2000 ISO! I postet already a quite intense ISO test a few month ago. http://www.cinematography.com/index.php?showtopic=67992 In my experience I shot it 1250...
  5. We're right now in preproduction for a documentary for which we're going to need two cameras. It's an international coproduction and it's going to be shoot in two countries. One Company owns a F5 already, the second one is considering buying a FS7... There are times when we will be shooting with both cameras the same time and there are situation when we shoot a whole scene with one and the next with the other camera. Does anyone have any experience how the to cameras go together. How do they mix? Or are there any special set up to bring them closer? Thanks for your feedback. Philipp
  6. Hello everybody I'm in the early stage of preproduction for a short film. After reading the book and talking to the director, in my opinion, S-16mm would be the right format. I was playing with that thought, told it a few people and just received the offer for five rolls of Vision3 T500 and 5 rolls of Vision 3 D250 for free. Both still sitting in the original "Yellow Kodak Box"... As I asked about "the storage conditions and how come" he told me that they received it due winning a festival seven years ago and since, it was sitting on the shelf… (No fridge - always room temperature) What's your opinion and thoughts about the condition of the footage? Is it worth to consider it and rund a few exposure Tests, or what do you guy think about it? I'm aware that we'd have to expose one or two higher... but still... Thanks in advance Philipp
  7. Hey Everybody For an upcoming shoot, I was testing a few frame rates and so on. Unfortunately I didn't have a IR Cut ND on hand. Since I was going for full open, I sacked a regular ND1.2 and a ND.9 together. The test was shot on the Alexa (first series). I was quite surprised when I saw the footage. The scarf I'm wearing in the image has in real life no color! Thru the whole test footage it has this reddish color. I my opinion quite strong... Is a missing IR CUT that strong? What's your thoughts.
  8. Exactly as you said and a typical tilt/shift shoot. My point is, the look they were going for was a kind of "toy-like" look. This is not my intention and therefore I'm not sure if that's the right way to make something look small? Specially since we VFX two shoots together. If we compose a regular- with a tlit/shiftshot I'm not sure if the of focus part matches together. You know what I mean?
  9. Hey Everybody First, thank you for your input – but it looks like I didn't communicate it the right way... Our real object is 11cm x 11cm x 11cm. And our model that has to be "shrunken" is oversized. (2mx2mx2m) In the final output, the big scale model hast to look like it's 11x11x11cm. That's why I was asking If I should shoot the VFX Compositing shoot with a "normal" lens and add the shift focus impression in Post, or if I should shoot it with a shift focus Lens...? I'm just not sure if I get into trouble since we have to recreate the shoot twice. THX for your feedback.
  10. Hey everybody I'm in preproduction for a commercial in which we compose a large scale model with real people into a 10cm real model. Does anyone have any recommendations or tips how to achieve more or the biggest realism? I'm also playing with the thought about a shift-focus lens. But I'm not sure if it's smarter to keep the dof as large as possible for the vfx compositing and adding the "shift impression" in post... (We're shooting on the Amira with Zeiss T2.) Big THX for your thoughts and recommendation. Philipp
  11. Hey Everybody I'm in preproduction for a commercial, on which I'm looking for some ideas and thoughts for our VFX pack shot. First we shoot a classic product Pack-shot" on location. Afterwords we recreate the whole thing in a Studio but 23 times bigger. The product is a 11cmx11cmx11cm CUBE. Lens 50mm Distance to the corner 50cm Viewpoint above Cube 5cm (PoV total hight 16cm) Angle towards Cube 15 degrees Travelling distance is 15 cm Duration 6 Seconds The recreation is 2.5m x 2.5m x 2.5m Lens 50mm Distance to the corner 11,5m Viewpoint above Cube 1.25cm (PoV total hight 3,75m) Angle towards Cube 15 degrees Travelling distance is 3,45m Duration 6 Seconds The budget is tight and so there is no "Motion Control" which should be the tool to use. Our idea is to recreate the shot by geometrical proportions. But there are definitely some challenges... Time Problem: Hitting the 6 Second mark on the spot... Idea: Over cranking with 100fps. Afterwards correcting the offset with time remapping in the post. What do you guys think about that? Depth of Field (Epic 4K 16:9) Problem: 50mm on 0.5m distance. On a f8, the depth of field is only 2cm. 50mm on 11.5m distance. On a f2, the depth of field is still 3.47 m Unfortunately, the product Cube is like it is and the recreation Cube has to be that big... I'm looking forward for your answers... Thanks a lot Philipp
  12. Hey Satsuki Thanks for your replay. What's a OLPF with the Kippertie Carbon? Never heard of it?
  13. Hey Everybody I'm in preproduction for a glossy beauty commercial. Unfortunately, the lenses we have to shoot on, are a set of Zeiss Distagon T 2.1. I know it's the definitely not the right choice but's what we got. The camera we shot on is an Epic Dragon. The result should be is a "classic" soft beauty look with a lot of flares, gentle blacks and a lot of soft backlight. Normally I'd order a set of of old uncoated lenses but as written, it's not possible and the Distagon are quite "dry"... My thoughts go towards stacking a Glimmerglas with a Black Promist together... But may be you guys have any oder and better idea. THX for your support. Philipp
  14. Hey everybody In the upcoming feature production we're jumping visually between two times. A modern, contemporary style and a old gritty look I'm looking for some recommendations for an old, contrast S16mm Zoom for handheld operating. The focal length should be somewhere from 9,5-50mm and should open around a T2. But as written above, even more important is the look. It should be contrasty, almost dirty... I'm open for any "tips and hints"... Philipp
  15. You guys were right... I just thought about the different distance of the focal plane – but didn't take the depth of the leans into calculation. Thanks four your feedback!
  16. Having a look at the "Auflagemass" distance, (German) I think its called focal plane in english it should work. The Camera > Nikon F > is 46,5mm Sensor The Lens > ARRI Bajonet > is 52mm Lens So one would have "only" to increase the Distance.... Are my thought wrong?
  17. Hey everybody I'm just got my hands on a beautiful, old set of Schneider Kreuznach Xenon lenses with the ARRI bayonet mount. Now I'm wondering if there is any way to mount them "directly" on a Nikon body. I changed / fitted them all already to PL Mount but I'm wondering if there there is a "direct Nikon adapter"? I know that they don't "project" full frame, but I'm certain there colours are worth it to shoot on DX - Crop... THX for your input! Philipp
  18. Sorry... Thought he was talking about the 15.5 - 45 LWZ Alura... My bet... :-)
  19. Hallo Simon. Immer wieder schön auch mal auf Deutsch nachfragen zu können. Wie Charie Pech geschrieben hat ist funktioniert es auf der 35er mit der Timeshift box welche anscheinend nicht mit der 416er korrespondiert... Vielleicht hast du ja aber noch eine andere Idee? Vielen Dank. Philipp
  20. Thanks a lot. It's exactly what I was looking for! Perfect Unfortunately my "feeling" was right that It doesn't work on the 416...
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