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Dev Varma

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About Dev Varma

  • Birthday 08/15/1972

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  • Occupation
    Cinematographer
  • Location
    Auckland, New Zealand

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  1. Hi Guys, I have to shoot a feature film on Alexa in march, I am open to any suggestion, pros and cons of the camera, I have heard that its the best digital camera but I have not done any experiment and did not have any time left. I'll be shooting on 2.35, I have not asked for anmorphic lenses, but if I do ask and try to use them, how its gonna work ?? anyone?? or should I mask it in the post ?? thanks for answering
  2. Hi James, I did one feature on the same format, after DI its been printed on 35mm for theater release http://www.youtube.com/watch?v=Huq3jwAEUGg I shot 5 feature on 35, but this was my first, planning one more on same format, shooting on anamorphic lenses is fun, but its difficult to get on 16, so I just took the gate to frame right, and than on DI we cropped top and bottom.
  3. Hi Federik, thanks for the comments.... I did my last feature on S16,I love shooting on film its much faster and look good too but I found heavy grains in two scenes, one was the night and other when I was shooting against white background, I was using kodak 500T, anyways, this feature is set in 1950's and 2010, so I need to give change in the looks too... we will go for DI, so will have options to de grain.... for night scene what iso should I go for....shooting 1/3 over and than in the post minimising will certainly help... I cant go for 2 perf or 3 perf, budget problem..
  4. Hi I need to choose from these format... its a feature film, and half of the film is based in 1952, so have to give that old look, kind of sepia, and because it has more night scene, I am worried about 16 grains.... can i mix up both... day scene with 16 and night with red or just use one format throughout... and lighting wise, any comments.....how to give that old look...
  5. Hi Guys, thanks for your time and effort... I will update each and every move......
  6. hiding cuts one option we are thinking on....but director is not happy with it. project requirement is one shot. its not Russian Ark with 2000 actors and that huge, but yes it is quite interesting project.
  7. thanks Tom... I think nothing is imposible and as DP we should take the way out..... and WE WILL DO IT... but I need sugessions and solution of problems, I will be spending long hours on post. I know its complicated shooting long 90 mins for any operator....
  8. Hi Guys, planning to shoot one shot 90mins film on RED in London in october, its a challenging project... will be releasing on theatre... I need good suggestions... my questions are. 1. if any other camera I can use than RED. 2. it will be on steady cam... so any lighter version of steadycam in the market. 3. how long the battery go of RED. 4. whats good to shoot on, 4k or 2k. 5. what else I have to think. 6. which high speed lens I should prefer. waiting for the good answers... thanks guys.
  9. Hi Chris...question is not what you answering.. In my opinion Hall is amazing DP...and we learn a lot when we watch a good film including shot taking-editing....but I think every mood is different with every scene...and keeping in mind each subject need different lighting...and when any lighting or camera movement is not disturbing the story...its great job. I believe no lighting should overpower the story...viewers should be so involved in the story...they should not notice lighting or camera movement. we as technician note each and every small bit ...but do you think what viewer wants...AMAZING STORY AND AMAZINGLY SHOT FILM. so just keep viewers in mind and shoot your subject with the basics right.
  10. Hi Chris... I just shot a feature on super 16..and did grading on 2k luster... i experianced, dont ever shoot underexposed if you are doing interior and with 500T. grains will kill you in post... and dare not to take any white background...again grain problem...exterior day is all good 200T is a very good stock. I best of luck...
  11. ya i agree with you...producer didnt realise what problem we face on sets to teach students...and some student think they know everything...its more frustrating...you should become little strict with your producer and tell him if you pay peanuts than you only hire bunch of monkeys... I am not against any student...they have to learn some where...but film making is not easy..you can request producer to get one experiance guy as gaffer or your assistant. best of luck...
  12. Hi Jase.. thanks for the support, Its quite heavy...but I already did a 120mins film on arri 435, but not one shot... I am trying with Red... I do take rest every 15 or 20mins... just a begginning....lets see how it goes....thanks...will keep update.
  13. thanks Mike, rehersal went for good 113 mins.. we are cutting some movement. one shot is requirement of the script, few area drags...otherwise all going good. will try again next month with more equipment...using some 360 dolly.
  14. Hi Chris...thanks for the answer..its a great help...I tried 50mm ultra prime, on 5.6 stop 1/3rd minus. but not happy with the depth, wants to shoot around 2.8 focus puller did a great job...he is with me on rehersals... battery and weather problem in rehersal...looking for good cloudy weather, and batery cradle. its a huge compromise as I wanted to shoot in sun because its a colorfull film.
  15. Hi Brian..thanks for the answer...I am shooting hand held, its quite shaky when getting in the car...trying to smoothen it. I will try with steady cam now...ya you are right about the batery...I have shot quite a few music clip on Red....so little bit familiar with the camera...will see if I can find SI 2K.
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